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TORN  TO  THE  RIGHT 


Winchell  Smith  and  John  E.  Hazzard 


FRENCH5  STANDARD  UBRARY  EDITION 


SAMUEL  FRENCH,  25  West  45th  St.,  New  York 


MRS.  PARTRIDGE  PRESENTS 

Comedy  in  3  acts.  By  Mary  Kennedy  and  Buth  Haw* 
thorne.  6  males,  6  females.  Modern  costumes.  2  interiors. 
Plays  2y2  hours. 

The  characters,  scenes  and  situations  are  thoroughly  up-to- 
4ate  in  this  altogether  delightful  American  comedy.  The  heroine 
is  a  woman  of  tremendous  energy,  who  manages  a  business — as 
•he  manages  everything — with  great  success,  and  at  home  pre 
sides  over  the  destinies  of  a  growing  son  and  daughter.  Heir 
Struggle  to  give  the  children  the  opportunities  she  herself  had 
missed,  and  the  children's  ultimate  revolt  against  her  well-meant 
management — that  is  the  basis  of  the  plot.  The  son  who  is  cast 
for  the  part  of  artist  and  the  daughter  who  is  to  go  on  the  stage* 
offer  numerous  opportunities  for  the  development  of  the  comic 
possibilities  in  the  theme. 

The  play  is  one  of  the  most  delightful,  yet  thought-provoking* 
American  comedies  of  recent  years,  and  is  warmly  recommended 
to  all  amateur  groups.  (Royalty  on  application.)  Price,  75  Cents. 


IN  THE  NEXT  ROOM 

Melodrama  in  3  acts.  By  Eleanor  Eobson  and  Harriet 
Ford.  8  males,  3  females.  2  interiors.  Modern  costumes. 
Plays  2%  hours. 

"Philip  Vantine  has  bought  a  rare  copy  of  an  original  Boule 
cabinet  and  ordered  it  shipped  to  his  New  York  home  from  Paris. 
When  it  arrives  it  is  found  to  be  the  original  itself,  the  pos 
session  of  which  is  desired  by  many  strange  people.  Before  the 
mystery  concerned  with  the  cabinet's  shipment  can  be  cleared 
up,  two  persons  meet  mysteriot-S  death  fooling  with  it  and  the 
happiness  of  many  otherwise  happy  actors  is  threatened"  (Burns 
Mantle).  A  first-rate  mystery  play,  comprising  all  the  elements 
of  suspense,  curiosity,  comedy  and  drama.  "In  the  Next  Room" 
is  quite  easy  to  stage.  It  can  be  unreservedly  recommended  to 
fcigh  schools  and  colleges,  (Royalty,  twenty-five  dollars.) 

Price,  75  Cents. 


SAMUEL  FRENCH,  25  West  45th  Street,  New  York  City 
"<>fcn  New  Descriptive  Catalogue  Sent  Free  on  Request 


Turn  To  The  Right 

A  COMEDY 
IN  A  PROLOGUE  AND  THREE  ACTS 

BY 

WINCHELL  SMITH  AND  JOHN  E.  HAZZARD 
1 1 

COPYRIGHT,  1916,  BY  WINCHELL  SMITH  AND  JOHN  E.  HAZZARD 

All  Rights  Reserved 

CAUTION :  Professionals  and  amateurs  are  hereby  warned 
that  "TURN  TO  THE  RIGHT,"  being  fully  protected 
under  the  copyright  laws  of  the  United  States,  Great 
Britain  and  Canada,  is  subject  to  a  royalty,  and  anyone 
presenting  the  play  without  the  consent  of  the  owners  or 
their  authorized  agents  will  be  liable  to  the  penalties  by 
law  provided.  The  amateur  acting  rights  of  this  play  are 
strictly  reserved  and  amateur  performances  may  not  be 
given  anywhere  without  permission  first  having  been  ob 
tained  in  writing  from  Samuel  French,  25  West  45th 
Street,  New  York  City.  For  professional  productions, 
write  to  John  Golden,  139  West  44th  Street,  New  York 
City.  All  unauthorized  performances  will  be  prosecuted. 


New  York: 
SAMUEL  FRENCH 

Publisher 
25  West  45th  Street 


London : 

SAMUEL  FRENCH,  Ltd, 
26  Southampton  Street 


TURN  TO  THE  RIGHT 
ALL  RIGHTS  RESERVED 


Especial  notice  should  be  taken  that  the  possession  of 
this  book  without  a  valid  contract  for  production  first 
having  been  obtained  from  the  publisher,  confers  no  right 
or  license  to  professionals  or  amateurs  to  produce  the  play 
publicly  or  in  private  for  gain  or  charity. 

In  its  present  form  this  play  is  dedicated  to  the  read 
ing  public  only,  and  no  performance,  representation,  produc 
tion,  recitation,  or  public  reading,  or  radio  broadcasting  may 
be  given  except  by  special  arrangement  with  Samuel  French, 
25  West  45th  Street,  New  York. 

Amateur  royalty  quoted  on  application  to  Samuel  French, 
25  West  45th  Street,  New  York,  N.  Y. 

Whenever  the  play  is  produced  the  following  notice  must 
appear  on  all  programs,  printing  and  advertising  for  the 
play :  "Produced  by  special  arrangement  with  Samuel  French 
of  New  York." 

Attention  is  called  to  the  penalty  provided  by  law  for 
any  infringement  of  the  author's  rights,  as  follows : 

"SECTION  4966: — Any  person  publicly  performing  or  rep 
resenting  any  dramatic  or  musical  composition  for  which 
copyright  has  been  obtained,  without  the  consent  of  the 
proprietor  of  said  dramatic  or  musical  composition,  or  his 
heirs  and  assigns,  shall  be  liable  for  damages  thereof, 
such  damages,  in  all  cases  to  be  assessed  at  such  sum,  not 
less  than  one  hundred  dollars  for  the  first  and  fifty  dol 
lars  for  every  subsequent  performance,  as  to  the  court 
shall  appear  to  be  just.  If  the  unlawful  performance  and 
representation  be  wilful  and  for  profit,  such  person  or 
persons  shall  be  guilty  of  a  misdemeanor,  and  upon  con 
viction  shall  be  imprisoned  for  a  period  not  exceeding  one 
year."— U.  S.  Revised  Statutes :  Title  60,  Chap.  3. 


SU43 


TURN  TO  THE  RIGHT. 


As  produced  at  the  Gaiety  Theatre,  New  York 
City,  Angust  I7th,  1916,  under  the  management  of 
Winchell  Smith  and  John  L.  Golden. 


CAST  OF  CHARACTERS. 

As  produced  at  the  Gaiety  Theatre,  New  York 
City,  August  17,  1916. 

JOE  B ASCOM Forrest  Winant 

MUGGS William  E.  Meehcm 

GILLY Frank  Nelson 

DEACON  TILLINGER Samuel  Reed 

SAM  MARTIN  « Edgar  Nelson 

LESTER  MORGAN Roy  Fair  child 

CALLAH AN Harry  Humphrey 

ISADORE Al.  Sincoff 

MOSES * George  Spelvin 

MRS.  BASCOM Ruth  Chester 

ELSIE  TILLINGER Louise  Rutter 

BETTY  BASCOM Lucy  Cotton 

JESSIE  STRONG Alice  Hastings 

KATIE , Justine  Adams 


PROLOGUE — In  a  Pawn  Shop.    (Early  morning.) 

ACT  I.      In  MRS.  BASCOM'S  kitchen.    (That  eve«- 

ing.) 
ACT  II.    Outside  MRS.  BASCOM'S  kitchen.    (Next 

morning.) 

ACT  III.  Same  as  ACT  II.    (Ten  months  later.) 
3 

r  401 


CAST  OF  CHARACTERS. 


ISADORE Polish  Jeiv  Pawn  Broker.  (60) 

JOE  BASCOM   (PETER  TURNER)  .  .Tall,  slight, 

handsome,  (23) 
MUGGS.  .Short,  quick  talking  low  comedian.    (27) 

GILLY Grim,  hard  faced  but  likeable.    (30) 

AN  OLD  TAILOR Polish  Jew.    (65) 

BETTY  BASCOM Pretty,  dark  haired  girl.  (18) 

JESSIE  STRONG Pretty,  red  headed  girl.    (25) 

MRS.  BASCOM Sweet  faced,  frail  little 

woman.  (60) 

SAM  MARTIN Short,  fat  country  boy.    (18) 

DEACON  TILLINGER.  . .  .Large,  shrewd,  shifty- 
eyed.  (58) 
LESTER  MORGAN.  .Handsome,  dark,  well-bred 

and  well-groomed.  (26) 

ELSIE  TILLINGER Pretty,  young  girl.  (21) 

TOM  CALLAHAN,  Detective. ..  .Medium  size, 

blunt,  kindly.  (45) 


TURN  TO  THE  RIGHT 


PROLOGUE. 
SCENE  : — Ossining  Loan  Bureau. 

A  very  dingy  looking  room  filled  with  articles 
of  all  descriptions. 

There  is  a  double  door  R.C.  protected  by  heavy 
wire  screening  on  the  outside.  Over  these  doors 
is  a  transom  through  which  may  be  seen  the 
pawn  broker's  sign  of  three  balls.  On  both 
sides  of  the  door  are  large  shozv  windows — on 
the  upper  half  of  each  of  these  windows  is 
painted  "OSSINING  LOAN  COMPANY", 
the  letters  running  backwards.  Behind  the  win 
dows  are  boards  arranged  at  an  angle  running 
quarterly  to  the  top  of  the  window  as  if  wares 
were  shown  on  the  other  side.  A  few  articles 
are  seen  above  these  boards  hanging  from  wires, 
such  as  Umbrellas,  Canes,  Gun,  etc.  Through 
the  door  and  windows  are  seen  the  sidewalk 
and  street,  and  buildings  on  the  opposite  side  of 
the  street.  At  R.  window  is  small  shelf  upon 
which  are  piles  of  goods. 

A  door  down  L.  leading  to  hall  where  a  sup 
posed  flight  of  stairs  leads  to  an  apartment 
above  where  ISADORE  lives. 

From  R.  c.  to  L.  c.  is  a  counter  set  on  line  with 
back  wall.  At  the  R.  end  is  a  small  desk 
enclosed  with  a  wire  cage  with  small  opening. 
Behind  this  counter  are  shelves  and  a  repository 
for  clothes  enclosed  with  curtains.  When  these 
curtains  are  opened  a  number  of  suits  and  over- 

5 


6  TURN  TO  THE  RIGHT. 

coats  may  be  seen  hanging.  At  R.  of  this  count  et 
are  a  number  of  packing  cases,  trunks,  etc.  A 
chair  without  a  backf  and  an  old  box  is  in  front 
of  it. 

At  L.  above  door  is  repair  table  with  tailor'* 
goose,  pressing  board,  etc. 

There  is  an  old  chair  at  repair  table.  There 
is  a  trunk  and  several  suit  cases,  etc.f  R.  c.,  a 
dummy  at  back  between  door  and  window.  A 
high  stool  back  of  desk. 

TIME:— 6:00  A.  M.  early  July. 

Before  the  curtain  rises,  there  is  a  rap  at 
door  up  c.  as  of  someone  trying  to  open  it. 
The  curtain  rises  slowly.  The  door  is  locked. 

This  is  followed  by  a  loud  rap.  A  pause. 
JOE  conies  to  window  at  R.,  looks  into  room  to 
see  if  anybody  is  about,  then  goes  back  to  door. 
The  rap  is  repeated  even  louder. 

ISADORE.  (Heard  off -stage  L.)  Yes,  yes,  yes. 
I'm  coming!  ( ISADORE  enters  hurriedly  in  slippers, 
trousers  and  undershirt.  He  is  an  old  Jew  of  about 
sixty,  somewhat  bent  and  decrepit.  He  is  pulling 
up  his  suspenders  over  his  shoulders  as  he  comes 
on.  Another  rap  at  the  door  up  R.  c.  He  increases 
his  gait  and  shambles  to  the  door,  calling  loudly) 
Yes,  yes,  yes !  Wait  a  minute !  (  The  door  is  shaken 
violently)  Here — here — here— don't  shake  down  the 
door!  (He  reaches  the  door,  unlocks  it,  unbolts  it, 
and  throws  it  open.  JOE  BASCOM,  known  as  PETER 
TURNER,  stands  in  the  doorway.  JOE  is  dressed  in  a 
loud  flashy  suit,  considerably  faded,  spotted  and 
wrinkled;  a  brilliantly  colored  neck-tie  and  high 
"  extreme "  collar,  dark  slouch  hat  and  black  lace 
shoes.  He  is  an  attractive  looking  boy  of  about 
twenty-three.  ISADORE  opens  door — excitedly) 
Well,  what's  the  matter  ?  (  JOE  enters — comes  down 
R.)  Say,  what's  the  matter  with  you? 


TURN  TO  THE  RIGHT.  7 

JOE.  This  is  (Looking  about)  the  Ossining 
Loan  Bureau? 

ISADORE.  (Right  of  JOE)  Six  o'clock  in  the 
morning  you  wake  me  up  to  ask  me  this? 

JOE.  Do  you  run  a  hotel  too?  I  got  word  two 
pals  of  mine  were  here. 

ISADORE.  Tw,o  fellows  got  a  room  here  last 
night. 

JOE.     I  want  to  see  them. 

ISADORE.  At  such  a  time!  Everybody  is 
asleep  yet.  Come  around  in  a  couple  of  hours  later. 
(Starts  to  push  JOE  out) 

JOE.  Then  I'll  wait.  (Looking  about  the  room) 
Got  any  clothes  to  sell? 

ISADORE.  (With  sudden  change  of  manner) 
Oh!  Why  didn't  you  say  so  at  first?  Sure!  Sit 
down,  mister.  I  was  just  going  to  get  up  anyvay. 
(Crosses  to  D.  L.)  I  overslept  myself  this  morn 
ing.  I'll  wake  up  your  friends  right  avay.  (Calls 
off  L.  in  Yiddish  for  his  wife  to  wake  up  the  two 
guests)  Rechal,  Rechal,  veck  off  die  three  val 
bayes  veche  three  gekimen  shlufen  gestern  loy 
nacth.  (Goes  back  of  counter)  My  wife  is  now 
waking  them  up  already.  So,  you're  around  doing 
business  early  this  morning. 

TOE.    Yes. 

ISADORE.    What  can  I  do  for  you. 

JOE.    I  want  a  suit  of  clothes. 

ISADORE.  Yes,  sir.  (He  turns  to  suits  hanging 
at  back,  reaches  behind  curtains  c.  and  brings  out 
suit  with  very  loud  pattern) 

JOE.    Something  cheap,  now. 

ISADORE.  Cheap  stuff — I  ain't  got  it.  But  I  sell 
it  to  you  cheap. 

JOE.     That's  what  I  mean. 

ISADORE.  (Comes  in  front  of  counter)  Hovr 
do  you  like  this  suit? 

JOE.    No. 

ISADORE.     This  suit  is  a  regular  sporty  one. 


8  TURN  TO  THE  RIGHT. 

JOE.  My  sporting  days  are  over.  I  want  a  plain 
dark  one — you  know — something  different  from 
what  I  got  on. 

ISADORE.  (Nodding  under  standingly)  Ah!  I 
understand — I  got  just  the  one  you  want.—- (Goes 
above  counter)  Now  wait  a  minute  and  I'll  show 
it  to  you.  (He  disappears  behind  the  curtain  with 
suit) 

JOE.     Second  hand  will  do. 

ISADORE.  (Behind  curtain)  I  know — nearly 
new.  (He  comes  down  font  of  counter,  L.  of 
JOE.  with  old,  blue  serge  suit)  Now  here  is  it 
a  suit — a  reguhry  chatsky — (Taking  ''coat  off 
hanger)  I  got,  from  a  gentleman  three  suits  at 
a— — - 

JOE.     (Breaking  in)     How  much? 

( ISADORE  gives  him  a  shrewd  glance,  then  looks  suit 
over  carefully,  caressing  it — then  holds  it  up 
to  JOE  and  speaks  as  if  he  knew  the  price  would 
be  a  great  and  delightful  surprise.) 

ISADORE.     C.    B.    O. — for   you — twelve    dollars! 

JOE.  (Looking  it  over)  Let's  see  how  it  fits. 
(He  takes  off  his  own  coat  and  puts  on  the  blue 
one)  I  gave  thirty  for  that  one. 

ISADORE.  Sure,  I  believe  you.  (Looks  over  JOE'S 
loud,  faded  suit)  It's  a  fine  suit — good  material — 
fine. 

JOE.     How'll  you  trade  ? 

ISADORE,  Trade  ! — For  what  ? — For  this  rotten 
suit! 

JOE.  I  want  to  trade  this  suit  for  a  plain  dark 
one. 

ISADORE.  (After  some  thought — magnani- 
mously)Now  listen  here — I  tell  you  what  I  do  with 
you.  (Puts  down  JOE'S  coat,  takes  trousers  and  vest 
from  hunger,  and  hands  them  to  JOE) — Put  your 
self  into  these  clothes  and  let  me  have  eight  dollars. 

JOE.     I'll  give  you  two. 


TURN  TO  THE  RIGHT.  9 

ISADORE.     (Persuasively)   .Five,  mister? 

JOE.    (Takes  up  his  o^vn  coat)    No. 

ISADORE.  (Stops  JOE  from  taking  the  coat  and 
puts  pants  and  vest  on  counter)  Do  you  want  some 
thing  else,  maybe? 

(JoE  looks  about  and  sees  old  shawl  on  counter  c. 
— holds  it  up.) 

JOE.  What's  this  worth?  (Hands  shawl  to  IS 
ADORE) 

ISADORE.  (Taking  shawl  from  him)  Look  at 
the  fringes  on  it!  It's  a  pleasure  to  look  at  it. — 
Here,  I  give  it  to  you. 

JOE.    Give  it  to  me? 

ISADORE.  You  pay  me  the  difference  on  that 
suit,  and  I  give  it  to  you  for  a  present. 

(JoE  throws  shazvl  on  counter.  He  has  the  blue 
coat  on.  The  fit  is  quite  good  except  the 
sleeves. ) 

JOE.    The  sleeves  are  too  long. 

ISADORE.  I  fix  it  for  you  right  avay — (Measur 
ing  place  sleeve  should  come) — Shorten  it  about  this 
size,  and  fix  the  other  the  same  size — and  the  back's 
first  class. 

JOE.  Yes,  that's  right.  Where  can  I  try  these 
on?  (The  trousers) 

ISADORE.  (Indicating  hallway  L.)  Right  out 
there,  mister. 

(JoE  sees  old  doll  on  counter  and  picks  it  up.) 

JOE.  I'll  give  you  fifty  cents  for  that.  (Gives 
ISADORE  doll  as  he  goes  out  of  door  L.  ISADORE 
hands  JOE  pants  and  vest  as  he  crosses  to  L.  c. ) 

ISADORE.  (Ejaculating  with  disappointment) 
Fifty  cents  for  that  doll!  Have  a  heart,  mister! 


io  TURN  TO  THE  RIGHT. 

(Is ADORE  looks  after  JOE  amazed  that  he  has  the 
nerve  to  make  such  a  low  offer,  then  shrugs  his 
shoulders)  All  right,  I  wouldn't  fight  with  you. 
I'll  let  you  have  it  for  fifty  cents.  (He  goes  back 
of  counter — wraps  doll  and  shawl  in  separate 
bundles) 

JOE.  (Off  L.)  Will  you  wrap  the  shawl  and  doll 
in  separate  bundles  ? 

ISADORE.  Sure,  mister.  I  put  them  in  as  many 
bundles  as  you  vant. 

JOE.    And  fix  the  sleeves? 

ISADORE.  I'll  have  it  fixed  right  away.  (He  calls 
off  stage  L.  in  Yiddish  for  an  old  tailor  who  works 
for  him  to  come  in  as  he  wraps  up  shawl  and  doll  in 
paper)  Itzick,  Itzick ! 

OLD  TAILOR.     (Off  stage  L.)     Voces  is? 

ISADORE.  Shtae  off  ich  hob  gekrigen  a  costomer 
men  darf  ficksen  a  rug.  Stae  off  gicher  is  is  a 
special  order. 

OLD  TAILOR.    Ich  veil  bald  arunter  kimen. 

ISADORE.  (As  JOE  enters  L.)  Ah!  I  know  that 
suit's  going  to  fit  you  just  like  new 

(JOE  throws  the  trousers  that  he  has  taken  off  on 
counter,  first  taking  $10  bill  from  trousers 
pocket  and  transferring  it  to  trousers  he  is 
wearing.  Goes  c.) 

JOE.    You  keep  this  suit  and  I  owe  you  five-fifty. 

ISADORE.     (L.  c.)     Yes,  sir. 

JOE.  ( Taking  out  $10  bill)  Have  you  got  change 
for  ten  dollars? 

ISADORE.  (Taking  the  bill)  Certainly  I  got 
change.  He  takes  the  ten,  looks  at  it  shrewdly, 
goes  up  L.  c.,  takes  out  small  bills,  counts  out  four 
ones  and  two  quarters  in  change.  As  he  is  doing 
this  MUGGS  enters  from  L.  He  is  putting  on  coat 
and  waistcoat  at  the  same  time — sees  JOE  and  rushes 


TURN  TO  THE  RIGHT.  n. 

to  kirn — his  coat  half  on.    He  shakes  hands  with 
him  violently  and  ends  by  hugging  him. 

(MucGS  and  GILL¥  are  two  ex-convicts;  MUGGS, 
a  pick-pocket,  GILLY,  a  second  story  man.  In 
their  profession,  they  are  both  considered  high 
class  artists  and  both  are  proud  of  their  ability. 
MUGGS  is  rather  the  smaller  of  the  two  and 
much  more  of  a  talker.  Though  he  is  ready 
at  a  moment's  notice  to  talk  positively  on  any 
subject,  it  is  quite  easy  for  him  to  change  his 
mind.  GILLY,  though  more  quiet  and  less  as 
sertive,  has  more  real  determination  once  his 
mind  is  made  up.  The  three  have  spent  nearly 
a  year  together  in  Sing  Sing  and  have  become 
the  closest  pals.  GILLY  has  been  out  two 
months  and  MUGGS,  two  weeks.  MUGGS  is 
dressed  fairly  well,  and  though  his  clothes  we 
rather  sporty,  they  are  not  noticeably  so.  (A 
man,  who,  mingling  in  a  crowd,  would  not  o*- 
tract  undue  attention)  He  wears  a  collar  and 
flashy  tie,  with  tan  shoes.  His  coat  and  waist- 
coat  are  in  a  good  state  of  preservation,  but  his 
trousers  are  somewhat  frayed  at  the  bottoms 
and  at  the  pockets.  GILLY  is  dressed  in  a  rather 
ill  fitting  suit  of  dark  brown  or  gray,  plain 
color,  and  is  rather  seedy.  He  wears  low  cottar, 
black  tie  and  low  black  shoes.  The  shoes  of 
both  have  rubber  heels.  They  enter  sleepily 
and  show  signs  of  having  dressed  in  a  great 
hurry.) 

MUGGS.     Well,  well,  well!     If  it  ain't  the  kid! 

JOE.  (With  great  cordiality)  Hello,  Muggs! 
(MUGGS  goes  to  JOE)  Where's  Gilly? 

MUGGS.  (Shaking  his  hand  and  embracing  him) 
Hell  be  here  in  a  minute.  How  are  you,  old  scout? 
You're  lookin'  great!  Right  out  on  schedule  time, 
too! 


12  TURN  TO  THE  RIGHT. 

JOE.  (With  glance  of  warning  toward  ISADORE) 
Sh !  Yes,  I'm  out  early  this  morning. 

(The  OLD  TAILOR  enters  L.  goes  to  repair  table, 
sits.) 

ISADORF.    (To  JOE)    Your  change,  gentlemen. 

(  ISADORE,  after  JOE  ikes  the  money,  goes  up  behind 
counter,  picks  up  old  blue  serge  coat  and  sub 
stitutes  JOE'S  blue  serge  coat  which  he  takes 
from  under  counter;  goes  to  OLD  TAILOR  and 
explains  how  it  is  to  be  fixed,  sleeves  shortened 
etc.) 

JOE.  (Taking  the  money)  Four  fifty — that's 
right.  (He  crosses  to  L.  c.  and  GILLY  enters.  JOE 
hurries  to  GILLY,  saking  his  hand  warmly)  Hello, 
Gilly! 

GILLY.  (L.  c. — Speaking  with  JOE)  Hello, 
Pete! 

MUGGS.  (R.  c.)  Gilly  ain't  all  there  yet.  He's 
sleep  walkin*  now — but  he'll  come  to,  if  you  give 
him  time. 

GILLY.  (Crossing  to  MUGGS. — scowling)  Don't 
talk  about  "  givin'  me  time !  "  (Sits  on  counter) 

MUGGS.  (Grinning)  He's  wakin'  up  now. 
What  he  needs  is  an  eye  opener.  (Crosses  to  JOE 
t*.  c.)  Have  you  got  the  price  of  a  drink,  kid? 
We're  flat. 

JOE.    Sure  I  have. 

MUGGS.    Where's  your  coat? 

(  ISADORE  has  gone  to  OLD  TAILOR  and  is  talking 
to  him  in  low  voice.  He  is  saying  he  is  going 
to  breakfast  and  is  ftelling  the  old  tailor  to 
keep  his  eyes  on  the  boys.) 

JOE.     (Indicating  OLD  TAILOR)     He's  fixin'  it. 

ISADORE.     (Crosses  to  D.  L.)    It'll  be  ready  right 


TURN  TO  THE  RIGHT.  13 

avay.     Is  there  anything  else  I  can  do  for  you? 

JOE.     Not  for  me. 

ISADORE.  Veil,  if  you  should  vant  something, 
I'll  be  out  there.  (Points  off  L.  ISADORE  warns  the 
OLD  TAILOR  again,  in  YIDDISH,  to  keep  his  eyes  on 
the  boys,  and  exits  D.  L.,  closing  door)  Itzick— 

OLD  TAILOR.    Nu,  nu,  men  sail  nit  gonvennen. 

JOE.     I  just  bought  this  suit  of  him. 

MUGGS.  What  you  buyin'  clothes  for?  When 
you  got  out  this  mornin',  didn't  they ? 

JOE.  (Crosses  right  of  counter.  Breaking  in — 
low  tone)  Nix  on  that  "  Got  out"  stuff!  (Glanc 
ing  at  the  OLD  TAILOR) 

MUGGS.  Aw,  (  JOE  points  to  OLD  TAILOR.  MUGGS 
realising  what  he  means)  that's  all  right — he  can't 
understand  English.  (To  OLD  TAILOR)  Can  you, 
Moses  ? 

OLD  TAILOR.    No. 

MUGGS.  He  admits  it.  How  soon'il  that  coat  be 
ready  ? 

OLD  TAILOR.  (Shaking  his  head)  No.  No 
English. 

MUGGS.     (Turning  to  JOE)     See! 

JOE.  I  just  traded  my  suit  for  this.  (Crosses 
and  offers  MUGGS  a  quarter)  Here,  you  two  get  a 
drink. 

MUGGS.  Ain't  you  goin'  to  have  one?  We  want 
to  celebrate  you  bein'  a  free  man  again. 

JOE.  I  ain't  goin'  to  celebrate  that  way.  It  was 
booze  that  got  me  sent  up — now  I'm  on  the  wagon 
for  life. 

MUGGS.    Aw,  what  are  you  givin*  us ! 

JOE.  (Quietly  and  sincerely)  That  goes — I  mean 
it.  (Offering  quarter  again)  Here,  go  ahead. 

MUGGS.  Have  you  got  enough  to  stake  us  to 
breakfast? 

JOE.  Cerainly.  They  give  me  ten  dollars  to  start 
life  over  again. — Here.  (Takes  out  a  dollar  bill) 


I4  TURN  TO  THE  RIGHT. 

MUGGS.  (Not  taking  it)  No,  you  come  with  us. 
You  ain't  sworn  off  eatin'  for  life  too,  have  you? 

JOE.     I  had  my  breakfast. 

MUGGS.  You  can't  call  that  stuff  they  hand  out 
up  in  the  prison,  breakfast. 

JOE.  Well,  it  was  fillin'.  You  two  go  ahead. 
I'll  wait  for  you.  (He  offeres  a  dollar  bill.  MUGGS 
takes  a  quarter  -from  his  hand) 

MUGGS.  (Crosses  to  GILLY)  Go  out  and  get  a 
bottle,  will  you,  Gilly  ? 

GILLY.  (Quickly — up  to  door  R.  c.)  Sure. 
(Takes  quarter) 

MUGGS.  (Front  of  counter)  We'll  get  twice  as 
much  that  way.  And,  Gilly!  ( GILLY  stops  at  door 
and  turns)  Take  your  first  drink  after  you  come 
back. 

GIIXY.    Sure.    (He  exits  R.  c.  to  left) 

JOE.    But  you've  got  to  have  something  to  eat. 

MUGGS.  (Crosses  to  D.  L.)  Perhaps  we  can  get 
it  here.  (Calls  off)  Hey,  Pop! 

JOE.    You  don't  want  to  eat  in  this  place. 

MUGGS.  He  give  us  a  hand  out  last  night  that 
was  all  right. 

Is  ADORE.    (Coming  on  L.)    You  want  something? 

MUGGS.  What'll  you  take  for  a  couple  of  cups 
of  coffee? 

ISADORE.    Coffee  ? 

JOE.  We  want  two  breakfasts.  Can  you  get  tw 
something  ? 

ISADORE.  Well,  it  ain't  my  regular  business — but 
I'll  ask  my  wife. 

JOE.    How  much  ? 

MUGGS.  (Taking  quarter  from  JOE — gwes  it  to 
ISADORE)  Here — get  us  all  you  can  for  that. 

ISADORE.    A  quarter! 

MUGGS,    Twenty-five  cents. 

ISADORE.    Well,  I  ask  her. 

MUGGS.  (Crosses  to  R.  c.)  That's  right,  you 
ask  her. 


TURN  TO  THE  RIGHT.  15 

(IS ADORE  €XltS  D.  L.) 

JOE.  (Goes  to  MUGGS)  Now,  what  are  you  and 
Gilly  doing  here?  I  couldn't  believe  it  when  I  got 
that  message  from  you  last  night. 

MUGGS.  Took  us  half  the  day  yesterday  to  slip 
that  word  to  you.  We  wouldn't  take  a  chance  going 
up  to  the  prison  to  see  you  for  fear  somebody'd  get 
suspicious. 

JOE.    One  of  the  "  trusties  "  tipped  me  off. 

MUGGS.  Yes.  We  saw  him  doin'  some  work  on 
the  outside  and  told  him  we'd  meet  you  in  this  pawn 
shop. 

JOE.    What  is  it?    A  fence? 

MUGGS.  No.  Gilly  bought  some  stuff  here  when 
he  got  out  two  months  ago — and  when  my  time  was 
up,  he  come  up  to  Ossining  to  meet  me — same  as 
we  did  to  meet  you. 

JOE.  Did  you  fellows  come  way  from  New  York 
just  to  see  me  when  I  got  out  ? 

MUGGS.  Sure.  We  want  to  welcome  you  into  the 
great  world  once  more. 

JOE.  Can  you  beat  that!  Well,  (Crosses  right 
of  MUGGS)  it's  been  an  awful  year  I  put  in  there. 
(To  MUGGS) — but  it  wasn't  nearly  so  bad  after  I 
got  acquainted  with  Gilly  and  you.  Remember  how 
we  missed  Gilly  when  he  left? 

MUGGS.    Sure. 

JOE.  Then  think  what  it  was  for  me  after  you 
went  out  a  couple  of  weeks  ago !  Each  day  seemed 
a  year!  (He  shivers  at  the  thought)  I've  learned 
my  lesson,  Muggs.  (Sits  on  trunk)  You  can  bet 
on  that. 

MUGGS.  Oh,  forget  it,  and  start  over.  (He  gets 
old  chair  from  front  of  counter,  draws  it  to  trunk 
on  which  JOE  is  sitting,  as  if  to  start  on  a  long  story) 
Say,  listen !  Me  and  Gilly  has  got  a  great  idea  all 
doped  out.  It's  a  bird — Wait  'till  you  hear  about 
it.  ( GILLY  enters  door  R.  c.  Comes  down  right  of 


16  TURN  TO  THE  RIGHT. 

JOE  with  small  flask  of  Rye  Whiskey) 

the  fire  water.    I'm  just  tellin'  Pete  the  great  scheme 

we  got, 

GILLY.  (Holding  bottle  up  to  the  light  and  look- 
in$  to  see  if  it's  quite  full)  What  do  you  think 
oi  it? 

JOE.  I  don't  know  what  it  is  yet.  Wait  a  minute 
111  try  to  find  you  a  glass.  QOE  rises  and  crosses 
to  c) 

MUGGS.  ( GILLY  has  uncorked  bottle  and  hands  it 
to  MUGGS.  Rises — goes  to  JOE.  GILLY  follows) 
What  do  you  want  of  a  glass?  Just  booze  and  a 
mouth — that's  all  you  need.  (Offers  bottle  to  JOE) 
Go  ahead,  just  one. 

JOE.    No.    Never  again. 

MUGGS.  Well,  I  ain't  got  time  to  argue.  Here's 
luck !  (He  drinks,  wipes  off  neck  of  bottle  and  hands 
it  to  GILLY.  Crosses  to  right,  sits  on  trunk) 

GILLY.     (Offers  it  to  JOE)     Sure  you  won't? 

JOE.  (Shaking  head)  You  bet  I'm  sure. 
(Crosses  to  right,  sits  on  chair  at  trunk.  GILLY 
drinks,  then  sits  on  counter.  Lights  cigarette,  etc. 
JOE  looks  at  MUGGS)  Now  what's  this  scheme  of 
yours  ? 

MUGGS.  (Excitedly)  Well,  you  know  that  horse 
you  used  to  tell  us  about  ? — The  one  you  was  crazy 
over  just  before  you  got  pinched? 

JOE.    Fire-fly  ? 

MUGGS.  Yes,  Fire-fly.  Well,  he's  entered  at  Bel- 
mont  to-morrow  in  the  big  race. 

JOE.     (Interested)     No? 

MUGGS.  Sure  as  I'm  tellin'  you.  It's  his  first 
start  in  the  East,  too.  Now,  listen.  This  is  the 
scheme,  see!  After  I  get  out,  me  and  Gilly  talks 
over  that  stuff  you  was  always  handin'  out  in  there 
about  goin'  straight,  and  we  make  up  our  minds  you 
was  dead  right ; — Ain't  that  so,  Gilly  ? 

GILLY.    Sure ! 

MUGG.    So  we  plan  just  to  wait  around  till  your 


TURN  TO  THE  RIGHT.  17 

time  is  up  and  not  to  "pull"  anythin'  while  we's 
waitin' — see ! 

JOE.  (Looks  at  GILLY)  And  you've  both  kept 
straight  ever  since  you  got  out? 

MUGGS.  Sure  we  have.  Ain't  done  a  thing— ex 
cept  pinch  a  little  change  now  and  then,  just  to  eat 
with.  But  wait  till  you  hear  the  big  idea !  Now  we 
know  how  you  used  to  follie  the  races — see? — And 
that  you're  wise  to  all  the  live  ponies — and  you're 
in  soft  with  all  the  best  trainers — so  we  dope  it  out 
that  the  three  of  us  would  go  in  together — beat  the 
race  game  to  a  stand-still — and  cut  out  the  old  crook 
stuff.  Then,  right  after  we  plan  it,  we  finds  this 
Fire-fly  colt,  that  you're  nutty  about,  starts  to-mor 
row 

JOE.  But  how  are  we  goin'  to  bet  on  him  ? — You 
two  are  flat  broke  and  I've  got  four  bucks 

MUGGS.  Let  me  tell  you.  Me  and  Gilly  knows  a 
place  in  the  Bronx  where  we  can  turn  a  little  trick 
to-night  that'll  get  us  five  hundred  cases  at  the  very 
least.  Now,  we 

JOE.  Here,  here,  here!  (Looks  at  GILLY  and 
MUGGS)  How  about  goin'  straight? 

MUGGS.  Sure  we're  goin'  straight — that's  the 
whole  idea  of  it.  But  we  got  to  have  a  roll  to  go 
straight  with,  ain't  we  ? 

GILLY.    Just  workin'  capital,  Pete. 

MUGG.    Yeh — that's  it — workin'  capital. 

JOE.    That's  no  good,  boys. 

MUGGS.  I  tell  you  it's  the  only  way  to  do  it. — • 
And  this  job  is  a  cinch.  Why  listen,  kid.  We  ain't 
no  yaps  at  our  business.  Gilly  can  put  it  over  any 
safe  crackin'  guy  I  ever  see  work — and  I  hate  to 
talk  about  meself,  but  you  put  that  four  bucks  in 
any  part  of  your  clothes  where  I  can't  get  it  and  I'll 
make  you  a  present.  Now,  everybody'll  tell  you  the 
only  chance  us  guys  take  of  gettin'  pinched  is  doin' 
the  thing  once  too  often — But  there  ain't  no  such 
chance  now,  because  this  is  the  only  time  we're  goin' 


i8  TURN  TO  THE  RIGHT. 

to  do  it — and  they  ain't  .nobody  can  call  once,  often. 
Besides,  we  want  to  go  straight  just  the  same  as  you 
do. 

JOE.  It  won't  do,  Muggs.  First,  that's  no  way 
to  get  a  roll.  Next,  if  you  do  get  it,  the  chances  are 
it  wouldn't  last  long  at  the  track. — If  luck  is  with 
you,  you  can  win  fast,  but  if  it's  against  you,  as  it 
mostly  is,  they'll  break  you — and  last,  I  couldn't  go 
with  you  anyway.  (GiLLY  and  MUGGS  look  at  each 
other) — I  got  somethin'  to  do — and  I've  got  to  do  it 
alone. 

(There  is  a  slight  pause.) 

MUGGS.  You  mean  you  don't  want  to  be  seen 
around  with  us. 

JOE.  No,  no.  No.  You  got  me  all  wrong.  (He 
puts  his  hand  on  MUGGS'  shoulder — looks  at  GILLY) 
Why,  I  think  of  you  two  fellow's  as  the  best  pals  I 
got  in  the  world — that's  on  the  square.  (  To  MUGGS) 
Three  people  can't  be  together  day  after  day  like 
we've  been,  shut  up  in  that  hole,  without  knowin' 
each  other  inside  out,  and  we — Well,  we're  pals, 

that's  all !  (  MUGGS  and  GILLY  look  at  each 

other  and  nod  solemnly)  But  I  got  reasons  why  I 
can't  go  into  no  scheme  with  you  or  anybody  else  that 
knew  me  in  there.  This  whole  year  that  I've  been 
shut  up,  my  one  big  worry  was  whether — whether 
someone — would  find  it  out.  I  don't  think  they  have, 
but  if  they  did,  I'll  never  see  'em  again — because  they 
wouldn't  live  through  it.  ( MUGGS  and  GILLY  look 
front,  JOE  looks  at  MUGGS)  I  didn't  go  by  my  real 
name  on  the  tracks  and  no  one  found  it  out  when  I 
was  sent  up. — (Looks  front)  That's  the  one  thing 
I'm  countin'  on. 

MUGGS.    You're  married,  ain't  you,  kid? 

JOE.    No,  I  ain't  married. 

GILLY.  Eh — A  skirt!  (Gets  off  counter— goes 
L.  c.  Throws  away  cigarette) 


TURN  TO  THE  RIGHT.  19 

MUGGS.  (To  JOE)  Yeh,  that's  whr-t  he  always 
thought  it  was — a  dame.  Say — the  chances  are 
you're  goin'  to  get  knocked  cold  when  you  go  look- 
in'  for  her.  I  had  a  lot  of  experience  with  dames 
and  twice  I  goes  back  after  doin'  time  expectin'  to 
have  a  fuss  made  over  me — say ! — they  couldn't  re 
member  what  my  name  was — passed  me  up  like  they 
never  seen  me  before — and  it's  a  good  bet  that's 
what's  goin'  to  happen  to  you. 

JOE.     (Smiling)    You're  all  wrong,  Muggs. 

MUGGS.    I  talked  like  that  once. 

GILLY.  What're  you  goin'  to  do  after  you  seen 
the  dame  ? 

JOE     (Rising)    I'm  goin'  to  work. 

(They  both  look  at  him.) 

MUGGS.    What  kind  of  work? 

JOE.     (  Goes  c. )    Anything  I  can  get  to  do. 

MUGGS.  (Rising)  Why,  you  ain't  got  a  chance, 
Kid.  Nobody'll  hire  you 

JOE.  (Front  of  counter)  Anyhow,  I'm  going  to 
try.  I  love  a  horse — I  can't  help  that — but  I  put  all 
the  race  track  game  out  of  my  mind  when  I  dis 
carded  these.  (He  picks  up  his  old  coat  and  trousers 
from  the  counter.  The  OLD  TAILOR  up  L.  ex 
postulates  violenly,  motioning  JOE  to  put  them  down) 

OLD  TAILOR.  Here,  here,  here!  Chapinit. 
(Comes  down  with  coat,  helps  JOE  on  with  it) 

JOE.  What's  the  matter  with  you — I  ain't  goin'  to 
swipe  'em. 

MUGGS.  And  there  ain't  no  use  try  in'  to  get  you 
to  come  to  New  York  with  us  ? 

JOE.  (Taking  up  bundles)  Can't  Muggs — can't 
even  think  of  it.  (Looking  at  GILLY  and  MUGGS) 
I  probably  won't — won't  ever  see  you  fellows  again. 
(There  is  a  pause — they  turn  away)  But  I'm  never 
goin'  to  forget  you,  and  I  hope  you'll  do  what  I 
want  you  to— there  ain't  nothin'  in  the  other  game. 


20  TURN  TO  THE  RIGHT. 

{He  buttons  up  his  coat,  draws  his  hat  well  down 
over  his  eyes,  takes  out  the  four  one  dollar  bills, 
and  puts  two  of  them  on  the  counter)  Here's  half 
my  roll,  boys.  That'll  get  you  back  to  the  hig  town. 
crosses  to  chair  R.  c.,  with  his  back  to  the  boys,  and 
arranges  paper  on  bundles) 

MUGGS.  (Crosses  to  counter)  Nothin'  doin*. 
If  you're  goin'  to  work,  you'll  need  all  you  got. 

GILLY.    What  time  does  your  train  go  ? 

JOE.  No  train  for  mine.  I  don't  want  anybody 
to  see  me  on  a  train.  Where  I'm  goin'  is  only  a  day's 
walk  from  here.  I'll  get  there  by  dark — and  I  don't 
want  to  be  there  before. 

(  GILLY  picks  up  money  from  counter  and  motions 
MUGGS  to  give  it  back  to  JOE.  MUGGS  goes  to 
JOE,  touches  him  on  left  should.  JOE  turns  to 
him,  then  MUGGS — putting  his  right  hand  on 
JOE'S  right  shoulder,  and  patting  him  feelingly, 
he  slightly  elevates  his  chin  with  his  elbow  to  at 
tract  his  attention.  At  the  same  time,  with 
lightning  rapidity,  he  slips  the  money  into  JOE'S 
vest  pocket  without  JOE'S  being  aware  of  it. 
There  is  a  moment's  pause.  NOTE. — MUGGS 
palms  the  money.) 

MUGGS.  So  long,  old  pal.  (He  goes  to  counter) 
JOE.  (Crossing  to  GILLY,  taking  his  hand) 
Good-bye,  Gilly.  (  GILLY  shakes  his  hand,  but  does 
not  reply.  JOE  shakes  hands  with  MUGGS,  who  has 
gone  R.  of  counter)  So  long,  Muggs.  ( MUGGS 
shakes  hands  and  also  does  not  reply.  JOE  has  the 
two  bundles,  containing  the  shawl  and  the  doll,  goes 
to  door  up  R.  c.,  turns  and  gives  MUGGS  and  GILLY 
a  long  look.  They  have  their  backs  to  him,.  Unstead 
ily)  Good  luck !  (He  exits  door  R.  c.,  past  window 
to  L.  MUGGS  and  GILLY  hold  position.  A  pause) 

MUGGS.  (Turning  away.  Goes  to  trunk.  Sits) 
Well,  he's  gone. 


TURN  TO  THE  RIGHT.  « 

ISADORE.    (Coming  on  from  L.)    De  breakfast's 

ready,  boys. 

MUGGS.    To  hell  with  the  breakfast ! 
GILLY.    Eat  it  yourself ! 

/ISADORE  looks  at  them  in  surprise.    GILLY  goes  to 
MUGGS  and  offers  bottle  to  him.) 

CURTAIN. 


TURN  TO  THE  RIGHT. 

ACTL 

SCENE:— MBS.  BASCOM'S  kitchen. 

The  kitchen  of  a  farmhouse f  set  built  as  small 
as  possible.  Everything  is  cheap  and  plain  but 
the  whole  room  has  the  appearance  of  cheeri- 
ness,  cosiness,  order  and  spotless  cleanliness. 

Entrance  door  up  L.  c.  When  the  door  is 
opened  a  porch  is  seen  at  the  back.  A  door 
down  L.  leading  to  parlor.  A  second  door,  above 
parlor  door  and  facing  front,  leads  upstairs. 
A  door  down  R.,  leading  to  a  woodshed  where 
the  kitchen  stove  is  placed  during  the  Summer. 
In  the  upper  R.  corner  is  a  chimney-place,  in  an 
obliqued  flat — there  is  a  hole  for  a  stove-pipef 
covered  with  a  piece  of  tin.  There  are  a  number 
of  large  nails  or  pegs  driven  into  the  wall  in  the 
chimney-place,  on  which  are  hung  numerous 
pans,  kettles,  etc. 

At  R.,  between  the  woodshed  door  and  the 
chimney- place,  is  a  large  cupboard  with  curtain 
in  the  upper  section,  through  which  may  be  seen 
dishes,  etc.,  the  shelves  are  covered  with  oil 
cloth.  This  cupboard  has  a  flat  top  under  which 
are  two  shallow  drawers,  one  for  knives,  forks, 
spoons,  etc.,  the  other  for  towels,  etc.  Below 
these  drawers  are  two  doors  behind  which  are 
kept  flour,  sugar,  etc. 

There  is  a  kitchen  table t  with  drawer,  covered 


24  TURN  TO  THE  RIGHT. 

with  oil-cloth,  about  c.  Above  and  below  it  are 
two  cheap  chairs.  L.  c.  MRS.  BASCOM'S  easy 
chair  and  a  small  stand  on  which  are  MRS. 
BASCOM'S  Bible,  work-basket  and  spectacles, 
and  in  the  drawer  is  TILLINGER'S  bill. 

c.,  in  the  back  flat  is  a  window.  Below  this 
window  is  a  kitchen  table  covered  with  oil-cloth. 
Between  the  window  and  the  chimney  is  a  sink 
with  a  pump.  On  R.  side  of  sink  is  a  wooden 
shelf.  A  hat  rack  nailed  to  the  wall,  to  the 
right  of  entrance  door  L.  c.  On  the  chimney  is 
a  small  shelf  with  an  old  clock  on  it.  Two  oil 
lamps,  chimneys  covered  with  paper  bags.  A 
what-not,  hangs  on  wall,  L. — on  which  the  brush 
and  a  vase  of  flowers  are  placed.  A  chair  L.  of 
window  with  a  red  table  cover  on  it. 

TIME  : — Five-forty-five  p.  m.  On  the  same  day  as 
Prologue. 

DISCOVERED:— At  rise,  JESSIE  and  BETTY. 
BETTY  up  R.  c.  at  sink,  back  to  audience,  wash 
ing  dishes.  JESSIE  above  table  c.,  wiping  them. 
BETTY  is  a  pretty  dark-haired  girl  of  17.  She 
is  dressed  plainly  and  poorly  but  despite  that 
fact  her  appearance  is  attractive  and  scrupu 
lously  neat  and  clean.  Her  sleeved  are  rolled 
up  and  she  wears  an  apron. 

JESSIE  is  also  a  pretty  girl,  somewhat  larger 
than  BETTY,  and  several  years  older.  Her  com 
plexion  is  lighter  than  BETTY'S,  her  hair  is  red. 
Her  dress,  though  of  much  nicer  quality  than 
BETTY'S,  is  not  at  all  stylish  and  has  the  ap 
pearance  of  being  "  made  at  home  ".  She  also 
has  on  apron,  evidently  loaned  her  by  BETTY. 
The  c.  table  is  covered  with  oil-cloth;  on  the 
table  is  an  old  cruet,  containing  salt,  pepper 
and  vinegar t  pitcher  of  milk,  also  a  small  pile 
ef  plates,  cups  and  saucers,  knives  and  forks 


TURN  TO  THE  RIGHT.  25 

and  spoons  that  the  girls  have  finished  washing. 
The  girls  continue  to  work  as  they  talk. 

JESSIE.  (At  R.  of  table,  adding  the  plate  she  has 
been  wiping  to  the  pile  on  table)  I  guess  you'll  like 
it  better  after  you  get  all  moved  in.  Don't  you  think 
so?  (JESSIE  speaks  with  a  lisp.  BETTY  does  not 
answer  but  continues  to  wash  dishes,  and  places  them 
on  left  of  sink.  JESSIE  goes  up  for  the  plate  and 
begins  to  dry  it)  Betty,  I  say,  don't  you  think  you'll 
like  it  better  after  you  get  all  moved  in  ? 

BETTY.  (Who  has  finished  washing  the  last  dish. 
Turns  to  JESSIE)  Oh,  Jessie ! — I — I — hate  to  think 
about  it! 

JESSIE.  (Going  to  center-table)  Oh,  I've  never 
been  in  the  house  myself,  but  it  looks  real  cute  from 
the  outside. — (BETTY  turns  back  to  sink.  JESSIE 
goes  up  and  takes  last  plate)  When  do  you  expect  to 
move? 

BETTY,    I  don't  know.    Pretty  soon,  I  suppose. 

JESSIE.  (Going  to  table)  Of  course  it'll  seem 
strange  livin'  in  another  house  at  first — but  when  you 
get  used  to  it 

BETTY.  (Turns  down  to  JESSIE)  Don't  talk 
about  it,  please,  Jessie. 

JESSIE.  (At  table)  I  thought  that  was  the  best 
way 

BETTY.  (Coming  to  JESSIE)  I  think  it's  the 
worst  way! 

JESSIE.  You  do?  (Puts  down  plate)  Why,  I 
never  mind  a  thing  so  much  if  I  keep  talking  about 
it. 

BETTY.    Well,  I  mind  it  more!    (Goes  to  sink) 

(MRS.  BASCOM  enters  from  L.  down  stairway,  carry 
ing  hat  and  light  wrap.  MRS.  BASCOM  is  a  little^ 
sweet-faced  woman,  something  over  fifty,  but 
looks  older.  Though  of  delicate  build  she  is 
energetic,  used  to  hard  work  and  apparently 


26  TURN  TO  THE  RIGHT. 

likes  it.  She  wears  almost  continually^  a 
pleasant,  cheery  smile.  Like  BETTY,  she  gwes 
the  impression  of  immaculate  cleanliness.  She 
is  dressed  in  her  best  go-to-meeting  clothes,  some 
soft,  plain  material.) 

JESSIE.  (Turns  to  BETTY)  Well,  you  needn't  be 
so  touchy !  It  ain't  my  fault  your  Ma's  got  to  move. 

BETTY.  (Back  to  JESSIE)  Jessie,  you're  just  as 
mean  as  you  can  be !  You — (She  sees  MRS.  BASCOM, 
— JESSIE  turns  and  sees  her  also* — Pause} 

MRS.  BASCOM.  (Goes  to  center-table,  smiling  and 
speaking  enthusiastically,  as  if  she  had  not  heard  the 
row)  Well,  I  declare!  But  you  girls  have  been 
mighty  spry,  washing  up  the  dishes. — I  didn't  think 
you'd  be  half  through !  (She  goes  to  chair,  putting 
down  hat  and  shawl,  then  to  hall-way,  gets  apron) 

JESSIE.  (Turning  to  BETTY)  Will  you  forgive 
me,  Betty? 

BETTY.  It  was  my  fault.  I'm  awfully  sorry. 
(BETTY  puts  dish  cloth  on  sink  and  carries  dishes 
to  cupboard,  and  arranges  dishes  that  she  takes  to 
table  when  she  sets  it  for  JOE.  A  plate,  cup  and 
saucer,  knife  and  fork) 

JESSIE.  (Goes  to  MRS.  BASCOM  who  has  come 
down  front  of  stand)  Why,  Mis'  Bascom,  how  nice 
you  look,  you're  all  dressed  for  meetin',  ain't  you? 

MRS.  BASCOM.  (Putting  on  apron)  Yes,  Mis" 
Tuttle's  sick,  and  I  want  to  sit  with  her  a  while, 
so  thought  I'd  change  my  things  first — It  was  real 
good  of  you  to  help  Betty  with  the  dishes 

JESSIE.  Oh,  that's  all  right — Betty  helps  me  lots 
of  times. 

MRS.  BASCOM.  (Takes  towel  from  JESSIE) 
You're  sure  you  won't  be  late  for  your  supper? 

JESSIE.  Oh,  no,  we  don't  have  tea  till  half-past 
six — (Goes  to  stairway,  hangs  up  apron) 


TURN  TO  THE  RIGHT.  27 

MRS.  BASCOM.  Well,  we  had  ours  eariy  to-night. 
(Crosses  to  table  at  window)  Now,  Betty,  I 
want  to  put  on  this  fresh  lot  of  peaches  before 
I  go,  the  others  are  about  done.  (Goes  to  table 
at  window,  takes  up  bowl  of  peaches,  turns  to  table 
c.  SAM  MARTIN  enters  from  porch  up  L.  c.  He  is  a 
short,  rather  stout,  red-faced  country  boy,  keen-eyed 
and  shrewd.  He  seems  to  be  the  first  to  find  out  and 
distribute  any  new  piece  of  village  gossip)  Evenin', 
Sammy !  (Puts  bowl  of  peaches  on  center-table) 

SAM.  (Comes  down  L.  c.)  How  do,  Mis' 
Bascom !  (He  sees  BETTY  and  JESSIE,  grins  at  them 
broadly)  Howdy,  girls ! 

JESSIE.     (With  superior  air)     Good-evenin*. 

BETTY.  Hello,  Sam.  (Quietly  places  sticks  in 
window,  empties  dish-pan,  hangs  pan  at  chimney, 
puts  dish  cloth  on  sink) 

SAM.  (To  MRS.  BASCOM)  I  brung  over  that 
crate  of  preserve  jars — they're  there  on  the  stoop — 
what'll  I  do  with  'em?  (Indicates  kitchen  porch) 

MRS.  BASCOM.  (Crossing  to  woodshed  door; 
leaves  towel  on  L.  of  center-table)  You  can  leave 
them  right  there.  Thank  you,  Sammy. 

SAM.  Old  Tillinger  told  me  to  bring  back  all  the 
jam  you  got  ready. 

MRS.  BASCOM.  (At  door  R.,  reprimanding  him 
kindly)  Deacon  Tillinger,  Sammy,  or  Mr.  Till 
inger. 

SAM.    Yes'm — (Looks  at  JESSIE) 

(MRS.  BASCOM  exits  into  woodshed.) 

JESSIE.  Huh !  (Crosses  to  R.  of  table) 
SAM.  Deacon  or  Mister,  If  I  called  him  what  I 
thought  of  him,  it  would  be  a  durned  sight  worse 
than  "  old  Tillinger ! "  He's  the  meanest  old  cuss 
I  ever  seen,  and  stingy ! — he's  closer  than  the  next 
second 


28  TURN  TO  THE  RIGHT. 

(BETTY  puts  lemon,  etc.,  on  table  c.,  and  hangs  dish 
cloth  out  of  window.) 

JESSIE.  (At  R.  of  table)  What  makes  you  work 
for  him  then  ?  ( Goes  to  cupboard  with  sugar-bowl 
and  cruet) 

SAM.  Who  else  is  there  to  work  for  here,  'less 
you  go  to  f armin'  ?  His  store  is  the  only  one  in  the 
village  that  you  can  call  a  regular  store. 

JESSIE.  (Coming  to  table)  Well,  if  I  was  work- 
in*  for  somebody,  I  wouldn't  go  around  runnin* 
him  down. 

SAM.  I  suppose  you  think  he's  all  right  because 
he's  a  pillow  of  the  Church. 

JESSIE.  Well,  whatever  he  is,  his  daughter  is  a 
friend  of  mine,  and  I  don't  want  to  hear  nothin* 
against  him.  (  Goes  to  cupboard  with  cups  and  milk 
pitcher.  BETTY  places  kettle  on  table  c.) 

SAM.  (Suddenly)  Oh ! — have  you  seen  her  fel 
ler? 

JESSIE.     (Turns)    Whose  fellow? 

SAM.  Her'n.  Elsie  Tillinger's.  The  feller  'twas 
courtin'  her  while  she  was  away  to  school. 

(BETTY  back  of  table f  stops  work  and  listens.) 

JESSIE.    How  could  I  of  seen  him  ? 
SAM.    Cause  he's  here — visitin'. 

BETTY.    What!     {(Together) 

JESSIE.    Here ! 

(Greatly  excited.     Comes  to  chair  front  of  table) 
How  does  he  look,  Sam? 

SAM.  Great!  I  never  see  such  a  swell  feller. 
You  oughta  seen  him  lookin'  over  the  store.  (SAM 
puts  his  hands  behind  him  and  walks  about  the  room 
in  imitation.  He  looks  over  right  wall,  at  kettles, 
etc.,  hanging  there)  Quite  extraordinary,  isn't  it? 
I  declare!  I  declare!  I  declare!  (BETTY  comes 


TURN  TO  THE  RIGHT.  29 

down  L.  of  table)  One  can  get  most  anything  here. 
By  jove !  (He  walks  over  R.  c.  and  pretends  to  look 
about) 

JESSIE.  That's  like  Englishmen  talk  in  books. 
He  ain't  English,  is  he? 

SAM.  No,  but  he's  swell  American  society — 
that's  just  about  as  bad. 

JESSIE.    Is  he  handsome,  Sam? 

SAM.    Well,  he  ain't  so  pretty  as  he  is  swefl. 

JESSIE.    How  long  is  he  going  to  stay  ? 

SAM.  I  dunno — but  it'll  be  as  long  as  old  Mr. 
Deacon  Tillinger  can  get  him  to.  You  can  bet  on 
that.  He's  drivin'  'em  around  in  the  buggy  now,  the 
three  of  'em  all  squeezed  onto  the  one  seat.  Him 
on  one  side,  Elsie  on  'tother,  and  the  Deacon  in  be 
tween  'em,  so  they  can't  hold  hands,  or  nothin'. 
(BETTY  laughs  turns  to  L.  c.)  They  was  goin'  to 
show  him  your  Maw's  peach  orchard,  Betty.  I 
heard  him  say  so. 

JESSIE.  (With  sudden  thought,  going  to  BETTY) 
Oh,  Betty,  I  wonder  if  they're  goin'  to  get  married 
and — (Going  up  to  porch  door,  looking  off  to 
orchard)  live  in  this  house ! 

(BETTY  turns  up-stag e  to  table  at  window.  MRS. 
BASCOM  enters  from  woodshed  with  basket 
filled  with  jars  of  preserves,  and  jar  of  chicken 
broth.) 

MRS.  BASCOM.  There  you  are,  Sammy!  (SAM 
takes  basket)  Tell  the  Deacon  that's  all  I  got  this 
evenin',  but  I  can  give  him  plenty  more  to-morrow, 
now  the  jars  have  got  here — (Crosses  to  back  of 
center-table,  puts  bowl  of  chicken  broth  on  lower  L. 
corner)  I'm  stewin'  a  new  mess  to-day.  (Takes 
up  bowl  of  peaches) 

(JESSIE  turns  at  door.) 


30  TURN  TO  THE  RIGHT. 

SAM.     (Puts  down  basket  and  takes  out 
book)    Do  you  want  anything  from  the  store? 

(BETTY  comes  down  L.  of  table.) 

MRS.  BASCOM.  (After  a  look  at  BETTY.  Putting 
peaches  into  kettle)  I  guess  not  to-day — thank  you 
Sammy. 

SAM.  (Picks  up  basket,  crosses  to  D.  L.  c.) 
You  don't  order  hardly  nothin'  lately 

MRS.  BASCOM.  (Smiling  gaily  after  looking  at 
BETTY)  Well,  when  our  ship  comes  in,  Sammy, 
(BETTY  goes  to  cupboard  and  gets  bucket  of  sugar) 
we'll  order  enough  to  make  up 

SAM.  It  might  come  in  if  you'd  only — (JESSIE 
comes  down  stage)  change  your  mind  about  that 
proposition 

(MRS.  BASCOM  smiles.) 

BETTY.  (At  R.  of  table)  What  proposition, 
Sam? 

SAM.  (Coming  to  L.  of  table)  The  proposition 
of  lettin'  me  sell  the  jam  for  her — (JESSIE  goes  to 
stand,  looks  at  bible.  BETTY  crosses  to  L.,  puts  sugar 
bucket  on  table,  takes  cover  off,  puts  it  on  chair) 
Why,  if  she'd  only  give  me  the  chance  of  selling  it — 
I'll  bet  I  could  get  her  twice  what  the  Deacon  pays — 

MRS.  BASCOM.  (Laughing)  Why  Sammy! — 
Deacon  Tillinger  knows  what  jam's  worth  a  good 
deal  better  than  you  and  me.  He's  been  in  the 
Grocery  business  all  his  life. 

SAM.  'Course  he  knows,  but  he  ain't  lettin'  on  to 
you. 

(JESSIE  turns.) 

MRS.  BASCOM.     (Shocked)     Why,  Sammy! 
SAM.    No,  he  ain't,  Mis'  Bascom. — Why  I  could 
tell  you  somethin'  that  would  make  your  hair  stand 


TURN  TO  THE  RIGHT.  31 

up — (MRS.  BASCOM  and  BETTY  exchange  looks) 
only  I  can't,  'cause  I'm  a  business  man 

MRS.  BASCOM.  (Puts  bowl  down)  Now,  Sammy 
you  mustn't  say  anythin'  against  the  Deacon.  You 
know  what  the  bill  is  I  owe  at  the  store — and  he's 
never  once  asked  me  to  pay  it ;  and  he's  always  sold 
the  peach  crop  for  me  and  never  charged  me  a  penny 
for  doin'  it.  (Puts  in  lemon) 

SAM.  (Coming  back  to  table)  Well,  if  he's  as 
good  as  all  that,  he  oughtn't  to  mind  if  you  get  more 
for  your  preserves,  had  he  ? 

MRS.  BASCOM.  If  you  want  to  sell  them,  Sammy, 
why  don't  you  speak — (Stirring  the  peaches)  to 
the  Deacon  about  it? 

SAM.     (Going  up  to  door)    Niot  much! 

BETTY.  (At  L.  of  table,  putting  lemon  squeezer  fa 
bowl)  Why  don't  you  let  Sam  try,  if  he  wants  to, 
Maw? 

MRS.  BASCON.  I  wish  I  could,  Betty,  but  the  Dea 
con  wouldn't  like  to  have  Sammy  goin'  to  his  cus 
tomers. 

SAM.  (Coming  back  to  table)  I  won't  sell  none 
of  it  around  here 

MRS.  BASCON.    (Surprised)    You  won't  ? 

SAM.    No,  Ma'am,  not  a  jar 

MRS.  BASCOM.  Oh,  well,  I  don't  see  any  harm 
in  it  then.  (JESSIE  back  of  E.  ch.) 

BETTY.    (Picks  up  bowl)    Let  him  try,  Maw ! 

SAM.    Aw  go  ahead,  Mis'  Bascom ! 

MRS.  BASCOM.  All  right,  Sammy — If  you  don't 
sell  any  of  it  in  the  village,  I'll  be  glad  to  have  you. 

(BETTY  turns  up  to  table  at  window.) 
SAM.  (Delightedly)  Good!  Much  obliged, 
Mis'  Bascom ;  I'm  through  with  Tillinger  to-night. 
(Goes  to  door)  People  think  I  don't  know  nothin', 
but  I  got  a  chance  to  show  'em  I'm  a  business  man 
now — a  great  chance. 


32  TURN  TO  THE  RIGHT. 

(BETTY  puts  bowl  on  table  at  window;  then  goes  to 
c.  B.  JESSIE  comes  to  L.  of  center-table  as  SAM 
exits  quickly  through  the  porch.) 

MRS.  BASCOM.  (Wiping  table)  Sammy's  a  real 
good  boy — But  sometimes  I  don't  think  he's  quite 
right  in  his  mind 

BETTY.  (Arranges  dishes  at  c.  B.)  I  think  he  is 
— He  meant  something,  you  see  if  he  didn't ! 

MRS.  BASCOM.  Well,  I  hope  so.  Will  you  help 
me  with  the  other  kettle,  Betty!  (MRS.  BASCOM 
exits  into  the  woodshed,  taking  towel  with  her; 
BETTY  precedes  her,  JESSIE  crosses  toward  mirror) 

MRS.  BASCOM.  (Speaking  off  R.)  Jessie,  will 
you  hold  the  door  open,  please ! 

(JESSIE  does  so.  BETTY  and  MRS.  BASCOM  re-enter 
carrying  kettle,  smoke  rising  from  it,  and  place 
it  with  some  effort  on  the  sticks  arranged  on 
window  sill.  The  smoke  rising  from  the  kettle 
is  seen  curling  slowly  through  the  open  win 
dow.) 

JESSIE.  (As  they  enter)  Goodness,  that's  heavy ! 
you  have  a  long  way  to  carry  things  from  the  stove, 
don't  you? 

MRS.  BASCOM.  (Puffing  a  little  as  she  sets  down 
the  kettle)  I  always  have  the  stove  moved  out  into 
the  woodshed  in  the  Summer,  it  keeps  my  kitchen 
so  much  cooler.  (MRS.  BASCOM  and  BETTY  move 
table  to  c.  of  window.  BETTY  hangs  up  towel,  then 
gets  water  in  measure  and  brings  it  to  table,  puts  it  R. 
of  table.  MRS.  BASCOM  goes  to  center-table) 

JESSIE.  My  stars,  that  smells  good!  You  make 
the  most  delicious  jam  in  the  world,  Mis'  Bascom. 
Everybody  says  so.  ( Takes  teaspoonful  of  jam  and 
goes  to  easy  chair  LM  sitting  on  the  arm) 

MRS.  BASCOM.  (Puts  in  sugar.  BETTY  puts  away 
sugar)  I've  made  it  a  good  many  years  now. 


TURN  TO  THE  RIGHT.  33 

(MRS.  BASCON,  during  this  dialogue f  with  scoop 
sprinkles  sugar  over  the  peaches,  then  pours  in  some 
water  from  measure  that  BETTY  has  brought  from 
jink,  then  takes  small  bottle  from  drawer  of  table 
and  carefully  drops  in  flavoring  liquid,  then  stirs  in 
kettle  a  moment  with  long  spoon)  The  worst  of  it 
is  my  stove  ain't  big  enough  to  stew  but  one  batch 
at  a  time.  (Looks  at  clock)  I  ought  to  be  over  to 
Mis'  Tuttle's  this  very  minute. 
JESSIE.  (Picks  up  jar  of  broth)  Is  this  for  her? 

(BETTY  puts  away  measure.) 

MRS.  BASCOM.  Just  a  little  broth  I  made  from 
that  lovely  piece  of  chicken  your  ma  sent  us.  Betty 
and  me  did  enjoy  that  chicken  so  much !  (She  has 
put  in  the  drops  of  flavoring  extract  and  put  bottle 
back  in  drawer  of  table)  Now,  Betty,  let's  get  this 
on  the  stove!  (BETTY  and  she  lift  kettle,  BETTY 
also  gets  wooden  bowl  from  table  at  window.  They 
exit  to  woodshed.  JESSIE  puts  spoon  on  tabe  at 
window,  and  again  holds  door  open  for  them) 

MRS.  BASCOM.  (As  she  crosses  JESSIE)  Thank 
you,  Jessie.  (JESSIE  crosses  to  easy  chair  at  L.  and 
gets  MRS.  BASCOM'S  bonnet.  MRS.  BASCOM  speaks 
as  she  re-enters  taking  off  apron,  goes  to  easy  chair) 
Now,  at  half-past  six,  Betty,  close  the  damper  and 
put  in  another  pint  of  water.  (Puts  apron  on  easy 
chair  and  picks  up  shawl  and  puts  it  on) 

BETTY.    Yes'm. 

(JESSIE  has  picked  up  MRS.  BASCOM'S  bonnet.  She 
puts  it  on  MRS.  BASCOM  as  she  stoops.  BETTY 
gets  jar  from  table.  MRS.  BASCOM  is  standing 
at  L.  c.,  JESSIE  on  her  L.  and  BETTY  on  her  R.) 

MRS.  BASCOM.  (As  JESSIE  helps  her  on  with 
bonnet)  Thank  you,  Jessie.  (Kisses  her.  She  puts 
her  arm  around  each  girl  and  holds  them  close  to 


34  TURN  TO  THE  RIGHT. 

her  for  a  moment)  You're  dear,  good  girls,  both  of 
you.  (BETTY  hands  her  the  jar)  I  shan't  be  a 
jiffy,  Betty.  Don't  forget  to  give  my  love  to  your 
mother,  Jessie.  (She  exits  briskly  up  L.  c.) 

JESSIE.  Yes,  Ma'am.  (JESSIE  goes  up  L.  of  stand 
to  easy  chair.  BETTY  goes  to  front  of  table)  Your 
mother  is  just  an  Angel,  Betty.  (BETTY  smiles 
proudly.  JESSIE  takes  apron  off  easy  chair,  puts  it 
in  hallway.  BETTY  gets  red  table-cover  from  chair 
by  window  and  spreads  it  on  center-table)  My 
stars!  It's  gettin'  near  supper  time,  I  must  be 
runnin'  along.  (Goes  to  mirror  over  sink  and  ar 
ranges  her  hair) 

BETTY.  You'll  be  gom'  past  Elsie  Tillinger's, 
won't  you? 

JESSIE.  (Pretending  she  has  just  thought  of  it) 
Perhaps  I  will 

BETTY.  (At  L.  of  table)  You  might  see  her  beat| 
if  you  do. 

JESSIE.  (Turns  front)  Huh!  Well,  it's  better 
than  nothin'  to  see  somebody  else's  beau. 

BETTY.  Why  don't  you  come  over  after  supper 
and  go  to  meetin'  with  us  ? 

JESSIE.  (Crosses  to  D.  L.  c.)  All  right!  (Takes 
parasol  from  rack) 

BETTY.  (Goes  R.  of  table)  Thanks  ever  so  much 
for  helpin'  me 

JESSIE.  (About  to  open  door)  Don't  speak  of 
it. 

(There  is  a  knock  at  the  door  up  L.  c.  and  DEACON 
TILLINGER  enters.  He  is  a  tall,  stoop-shoul 
dered,  sharp-visaged,  sanctimonious  old  cock 
of  about  fifty.  His  manner  can  be  oily  and  in 
gratiating  at  an  instant's  notice.  He  wears  a 
Panama  hat,  linen  duster,  black  trousers  and 
very  wide  toed  shoes.) 

BETTY.  (Placing  chair  at  L.  of  table  for  him) 
Good-evenin',  Deacon  Tillinger! 


TURN  TO  THE  RIGHT.  35 

TILLINGER.  (Pleasantly)  How  de  do.  Why, 
hello  there,  Jessie !  (He  comes  down  L.  c.) 

JESSIE.    How  de  do,  Deacon. 

TILLINGER.  I  ain't  drivin'  you  away,  be  I? 
(Looks  at  chair  BETTY  places  for  him,  but  sits  in 
easy  chair  L.) 

JESSIE.  No,  sir,  I  was  just  goin'.  Oh — (Comes 
down  L.  c.)  Do  you  know  if  Elsie's  home? 

TILLINGER.  Well,  I  hardly  think  so.  She's  been 
goin'  it  quite  some  to-day.  Her  young  man's  a-visit- 
in'  us. 

JESSIE.  (With  assumed  surprise)  Yes,  (Looks 
at  BETTY)  we  heard  so?  I  suppose  he  must  be 
awful  attractive. 

TILLINGER.  Yes,  and  his  family  is  one  of  the 
oldest  and  richest  in  the  country. 

JESSIE.    Isn't  that  lovely  ? 

TILLINGER.    They  ain't  been  in  here,  have  they? 

BETTY.    (At  R.  of  table)    No,  Sir. 

TILLINGER.  (To  BETTY)  I  left  them  a  half-an- 
hour  ago,  takin5  a  walk  through  your  peach  orchard, 
Betty. 

JESSIE.  (Hastily)  Through  the  Orchard !  Well, 
(Up  to  D.)  I  must  be  runnin'  along.  Good-bye. 

BETTY.  (Crosses  to  D.  L.  c.,  closes  it)  Good 
bye,  Jessie. 

TILLINGER.  (Going  over  to  kettle  of  jam,  sniff 
ing  and  smacking  his  lips)  Them  preserves  smell 
might  tasty.  I  got  a  whiff  of  them  'way  out  in  the 
road — (He  finds  a  spoon  and  helps  himself)  They 
taste  better'n  they  smell.  (Coming  to  R.  of  table 
c.)  Just  tell  your  Maw  I'm  here 

BETTY.  (L.  of  table)  She's  gone  over  to  Mis' 
Turtle's.  She's  sick. 

TILLINGER  Who's  sick — Mis'  Tuttle  or  your 
Maw? 

BETTY.     Mis'  Tuttle. 

TILLINGER.  Well,  you  run  over  there,  like  a  good 
girl,  and  tell  her  I  want  to  see  her  a  minute. 


36  TURN  TO  THE  RIGHT. 

BETTY.  (At  door,  asks  roguishly  but  a  little 
frightened)  Tell  Mis'  Tuttle  or  Maw? 

TILLINGER.  (Laughing  good-naturedly)  He! 
He — You're  a  bright  one  you  be.  Your  Maw.  Now 
be  lively! 

BETTY.  Yes,  Sir.  (She  runs  out  quickly ,  without 
hat) 

(Left  alone,  TILLINGER  tastes  the  jam  critically, 
stands  chewing  and  looking  front  thoughtfully. 
TILLINGER  turns,  goes  up  to  get  another  spoon 
ful,  puts  spoon  down  and  looks  through  window 
to  L.  and  calls  off.) 

TILLINGER.    Mr.  Morgan,  here  I  be,  come  in. 

(After  a  moment's  pause,  MORGAN  enters  jauntily. 
He  is  very  fashionably  dressed  but  in  excellent 
taste.  Rather  swarthy  complexion  and  black 
hair,  exceedingly  good-looking  and  stylish  but 
doesn't  conceal  feeling  very  superior  to  the 
village  and  everybody  in  it.) 

TILLINGER.    (Coming  down  R.  c.)  Where's  Elsie? 

MORGAN.  (Coming  down  L.  c.)  Gone  home. 
She  met  a  girl,  Sadie  somebody.  They  went  along 
and  I  came  to  find  you. — (Sniffs)  I  say,  what's 
that?  (Sniffs  again) 

TILLINGER.  (Goes  to  him.  Indicates  kettle) 
Er  ?  Oh !  That's  what  I  was  tellin'  you  about. 

MORGAN.    The  Preserves? 

TILLINGER.  Yes,  she's  just  finished  cookin'  them. 
(Goes  up,  takes  spoonful) 

MORGAN.  (Sniffing,  goes  front  of  table)  Mm! 
— Smells  great ! 

TILLINGER.  (Coming  down  R.  of  table,  offering 
spoon  to  MORGAN)  Try  it 

MORGAN.  No  thanks,  I  don't  go  in  much  for 
sweet  stuff. 


TURN  TO  THE  RIGHT.  37 

TILLINGER.    Just  try  it ! 

(MORGAN  stands  front  of  table,  tastes  the  tip  end 
of  the  spoon  gingerly,  pauses  a  moment  to  let 
the  taste  grow.  MORGAN  starts  to  hand  the 
spoon  to  TILLINGER  draws  it  back  and  eats  entire 
contents.) 

MORGAN.  (Surprised.  Hands  spoon  to  TILLIN- 
ger)  By  jove!  That's  ripping, — never  tasted  such 
stuff.  (Goes  L.  c.)  No  wonder  you  say  it's  a  big 
opportunity. 

TILLINGER.  (  Going  up  to  window,  puts  spoon  on 
table)  What  do  you  think  of  the  orchard? 

MORGAN.     It's  wonderful. 

TILLINGER.  (Coming  down  front  of  table)  You 
won't  find  peaches  like  those  nowhere  else  in  the 
country.  Sister  Bascom's  brother — Uncle  George 
they  used  to  call  him — planted  that  orchard  years 
ago.  He  had  the  greatest  knack  for  growin'  fruit, 
and  he  fussed  and  dug  around  them  trees  right  up 
to  the  day  before  he  died. 

MORGAN.  (Goes  to  him)  And  you're  really  will 
ing  to  turn  the  place  over  to  me,  to  run  on  shares  ? 

TILLINGER.    That's  what  I  said. 

MORGAN.  You  don't  know  what  this  chance 
means  to  me,  Mr.  Tillinger. 

TILLINGER.  Well,  no,  I  don't  exactly — why 
a  young  feller  with  all  your  money  should  want 

MORGAN.  (Sits  L.  of  table)  That's  it,  I  haven't 
got  any  money. 

TILLINGER.     (Front  of  table)     What? 

MORGAN.    Not  a  Dollar! 

TILLINGER.  Why  your  father  is  one  of  the  richest 
men  in  America. 

MORGAN.  Of  course,  the  governor's  got  tons  of 
it. 

TILLINGER.    I  should  say  so. 

MORGAN.  Well,  this  is  my  situation,  Mr.  Till 
inger, — I'm  very  fond  of  your  daughter. 


38  TURN  TO  THE  RIGHT. 

TILLINGER.  (Delighted)  I  can't  say  I  blame  you 
for  that. 

MORGAN.  She  is  a  beautiful  girl — and  a — 
Do  you  think  I  stand  any  chance  with  her? 

TILLINGER.  Well,  I  guess  you  can  find  that  out 
for  yourself. 

MORGAN.  I  want  to  find  out.  I  want  to  ask 
her  to  marry  me. 

TILLINGER.  Why  don't  you.  I  ain't  got  no 
objections. 

MORGAN.  I'm  afraid.  On  account  of  my  Gover 
nor. 

TILLINGER.    What  could  he  have  against  Elsie? 

MORGAN.  (Rises)  Oh,  no,  it  isn't  that!  He'd 
love  her — he  couldn't  help  it. 

TILLINGER.  (Catches  his  eye)  See  here!  Ain't 
you  and  your  father  on  good  terms  ? 

MORGAN.  (After  hesitation)  No,  sir.  We're 
not — (Goes  L.  c.)  In  fact,  Mr.  Tillinger,  I've  left 
home. 

TILLINGER.    Left  home ! 

MORGAN.  You  see,  the  governor  has  very  strong 
ideas. — He  thinks  I  ought  to  work  and  get  along 
on  my  own 

TILLINGER.     (Quickly)     And  I  agree  with  him. 

MORGAN.  Well,  I  confess  I  never  did — until  I 
fell  in  love  with  Elsie.  Then  I  realized  that  my 
father  would  never  consent  to  my  getting  married 
until  I'd  done  something  to  show  I  could  make  good, 
but  I  know  that  if  I  disappeared  and  went  to  some 
out-of-the-way  place,  so  that  no  one  would  find  me 
or  hear  of  me,  and  then,  after  a  while, — I  came 
back  to  my  father  with  some  money,  that  I'd  earned 
myself,  without  any  help  from  him — why  it  would 
maks  such  a  hit  with  him  that  he'd  be  glad  to  have 
me  marry,  and  he'd  give  me  anything  on  earth  I 
wanted. 

TILLINGER.  (Thinks)  Yes — I  see.  (Goes  to 
R.  of  table)  Well,  I'm  willin'  to  help  you,  but  there 


TURN  TO  THE  RIGHT.  39 

won't  be  no  engagement  until  you  and  your  father 
have  made  up. 

MORGAN.  Of  course,  Sir.  I  prefer  it  that  way, 
and  I  want  to  earn  some  money  first. 

TILLINGER.  Well,  there  ought  to  be  a  lot  of 
money  in  these  preserves — (To  table  at  window) 
if  the  business  is  handled  right. 

MORGAN.  (Sits  L.  of  table)  I  should  think  so 
— It's  a  lucky  think  the  people  here  haven't  thought 
of  it  or  they'd  never  have  sold  the  place  to  you. 

TILLINGER.  (Comes  to  back  of  center-table) 
Oh,  I'm  treatin'  Sister  Bascom  fair.  This  ain't 
nothin'  she  could  do.  It's  goin'  to  take  money  and 
business  sense  to  develope  the  preserve  business, 
and  she  ain't  got  neither.  Why,  she  hardly  gets 
enough  out  of  the  peaches  to  pay  the  interest  and 
taxes. 

MORGAN.    Then  how  does  she  live  ? 

TILLTNGER.  (Back  of  table,  very  religiously) 
Well,  Sister  Bascom  had  a  wayward  son 

MORGAN.     (Smiling)     Like  me,  eh? 

TILLINGER.  (Dropping  the  religious  tone)  He 
was  a  good-fer-nuthinj,  no-account  brat.  (Sits 
back  of  table)  He  used  to  be  always  hangin* 
around  Elsie 

MORGAN.  (Moving  his  chair  backward)  Oh, 
he  did?  Still  like  me,  eh? 

TILLINGER.  But  I  put  a  stop  to  it.  And  right 
after  that  he  ups  and  runs  away.  That's  over  ten 
years  ago. — Sister  Bascom  felt  terrible — but  she 
never  let  on.  She'd  smile  an*  say,  she  let  him  go, 
and  it  was  a  good  thing  for  a  boy  to  go  out  in  the 
world  and  fight  his  own  battles,  an*  she  knew  he'd 
make  his  mark 

MORGAN.  (Without  interest)  Well,  has  he  made 
his  mark? 

TILLINGER.  If  be  has  it  don't  show  much.  But 
he  always  sent  his  Maw  money  to  live  on,  regular 
as  clock-work,  after  Uncle  George  died, — I'll  say 


40  TURN  TO  THE  RIGHT. 

that  for  him,  'till  about  a  year  ago  he  wrote  'em  he 
was  comin'  home  — an5  they  got  all  ready  for  him, 
an*  that's  the  last  they  ever  heard  of  him!  No 
word, — no  money, — no  nothin' !  His  Maw  sent 
letters  to  all  the  towns  where  she'd  heard  from  him, 
— Sheepshead  Bay,  Baltimore,  New  Orleans — 
(MORGAN  looks  front  and  smiles')  to  the  Y.  M.  C. 
A's  and  different  Ministers, — but  she  never  got  no 
trace  of  him.  Well,  from  that  time  she's  been 
gettin'  behind  more  and  more — an*  now — this  year 
peaches  is  a  drug  on  the  market ;  why  they're  rottin' 
in  New  York  by  the  car-loads.  (Rises — R.  of  table 
— front)  She  can't  get  enough  for  them  to  pay  for 
pickin'  and  shippin'.  I'm  makin'  her  comfortable, 
tradin'  her  a  nice  little  place — givin'  her  a  clear 
title  and  Five  Hundred  Dollars  just  for  her  equity 
in  this  property. 

MORGAN.  (Rising  to  front  of  table)  Very 
generous,  I  should  say,  and  when  I  think  of  what 
you  are  doing  for  me 

TILLINGER.  (Front  of  table)  I'm  doin'  that  for 
Elsie, — she's  took  to  you. 

MORGAN.    Do  you  think  so? 

TILLINGER.  Oh,  yes, — she's  took  to  you,  an'  I'd 
like  you  for  a  son-in-law. — You  come  from  a  fine 
family, — the  kind  I  want  my  daughter  to  marry 
into. 

MORGAN,  (Shaking  hands)  Thank  you,  Sir. 
I'll  run  over  to  the  house  now  and  say  good-bye. 

TILLINGER.    Good-bye  ? 

MORGAN-    Yes,  I'm  leaving  on  the  6:40. 

TILLINGER.    Can't  you  stay  overnight? 

MORGAN.  No  thanks,  I'd  like  to  but  I've  got  some 
business  at  Belmont  Park  in  the  morning. 

TILLINGER.    Belmont  Par — Horse-racin' ? 

MORGAN.  (Laughing)  Well,  the  Governor 
Starts  "'  Fire-fly  "  to-morrow  in  the  big  stake  racCo 

TILLINGER.    I  don't  believe  in  hoss-racin'. 

MORGAN.    (Places  chair  he  has  just  left,  at  table) 


TURN  TO  THE  RIGHT.  41 

Oh, — I  was  raised  on  it — in  the  blood  you  know, 
and  "  Fire-fly's  "  the  best  colt  Dad  ever  had  in  his 
stable. 

TILLINGER.  Now  don't  go  riskin'  money  that 
way,  Mr.  Morgan — 'Tain't  right  if  you  want  to  go 
to  work! 

MORGAN.  No,  Sir,  I  won't — but  I've  got  to  go 
to  New  York  to-night.  (Goes  to  door,  stops  and 
turns  back)  I'll  be  back  to-morrow  noon,  ready 
to  begin  whenever  you  say. 

(BETTY  enters  hurriedly,  out  of  breath  f  from  door 
of  porch.) 

BETTY.  Maw's  comin'  right  over.  (Comes  above 
center-table,  she  sees  MORGAN  and  stops  speaking 
suddenly  ) 

TILLINGER.  (Is  above  table  R.  of  BETTY)  This 
is  Sister  Bascom's  girl!  This  is — (Introducing 
them — BETTY  bows  timidly)  Mr. — er — He's  a 
friend  of  Elsie's 

MORGAN.    (L.  c.  at  door)    How  do  you  do? 

BETTY.    Pleased  to  meet  you,  I  am  sure. 

MORGAN.  We've  been  admiring  your  orchard. 
( To  TILLINGER)  If  I'm  going  to  see  Elsie  and  make 
that  train — (Starts  for  door) 

TILLINGER.  I'll  drive  you  over — My  buggy  is 
right  out  there. 

MORGAN.  Thanks.  Good-evening.  (He  exits 
door  to  porch  and  L.) 

TILLINGER.  (Crossing  to  door)  You  can  tell 
your  Maw,  an'  save  me  waitin'.  Say  the  deed  for 
this  place  is  all  ready  an'  I'll  look  in  before  meetin* 
an'  have  her  sign  it. 

(TILLINGER  follows  MORGAN  off,  closes  door. 
BETTY,  at  the  word  deed,  looks  front  with  a 
startled  expression,  then  makes  effort  to  say 
"  Yes  Sir  "  steadily.  When  TILLINGER  has  gone 


42  TURN  TO  THE  RIGHT. 

she  goes  to  window  up  c.  and  looks  off  as  though 
watching  MORGAN  get  into  the  buggy.  It  is 
dusk,  the  last  rays  of  the  setting  sun  shines  in 
her  face.  As  she  turns  from  the  window  she 
stands  a  moment  in  deep  thought — her  hands 
nervously  tivitching  her  handkerchief  or  bit  of 
her  dress.  The  clock  strikes  6 :  30. — With  sud 
den  thought  she  glances  at  the  clock,  takes  quart 
measure  from  sink,  pumps  some  water  into  it, 
pours  some  out  as  if  getting  just  the  proper 
quantity,  and  exits  into  woodshed.  The  stage 
is  empty  for  several  seconds.  MRS.  BASCOM 
enters  from  door  of  porch,  puts  empty  jar 
on  table  at  window,  comes  down  L.  c.,  going 
toward  parlor  door,  as  BETTY  enters  from  wood 
shed  carrying  two  lighted  lamps  which  che 
places  on  the  center-table.) 

MRS.  BASCOM.  (Looking  about  the  kitchen)  Is 
the  Deacon  in  the  parlor,  Betty?  (BETTY  is  stand 
ing  R.  of  table  looking  front;  she  does  not  answer) 
Betty ! 

BETTY.  (Going  to  MRS.  BASCOM)  He's  gone, 
Maw !  (BETTY  helps  her  remove  hat  and  wrap) 

MRS.  BASCOM.    Oh,  that's  too  bad 

BETTY.  He  had  to  take  Elsie's  beau  to  the  depot 
but  he's  comin'  back  before  meetin'. 

MRS.  BASCOM.  Oh — I'm  sorry  I  kept  him 
waitin',  (BETTY  takes  her  mother's  bonnet  and 
shawl,  hangs  them  on  rack  at  D.  L.  c.  after  assist 
ing  her  to  sit  in  easy  chair)  Thank  you  dear. 

MRS.  BASCOM.  (She  puts  on  her  spectacles  and 
takes  up  her  work-basket)  Did  you  look  after  the 
Preserves,  Betty? 

BETTY.     (Goes  to  R.  of  table)     Yes'm. 

MRS.  BASCOM.    Sure  the  fire  ain't  too  hot? 

BETTY.  No,  ma'am.  It's  just  right.  (Takes 
lamp,  from  table)  Do  you  still  want  this  in  the 
window,  Maw? 


TURN  TO  THE  RIGHT.  43 

MRS.  BASCOM.    Always,  Betty,  every  night,  dear. 

(BETTY  puts  lamp  in  window  the  curtain  on  either 
side  of  it  is  arranged  so  it  leaves  an  opening 
wide  enough  to  let  the  light  shine  through. 
MRS.  BASCOM  sighs,  puts  her  work  basket  on 
shelf  of  stand  and  takes  Bible  from  stand.  It 
opens  at  a  place  where  it  is  apparent  it  has  been 
opened  many  times  before.  BETTY,  after  watch 
ing  her  mother  open  the  Bible,  takes  other  lamp 
from  table  and  places  it  on  stand  L.) 

BETTY.  {Crossing  to  stand  with  lamp)  Mr. 
Tillinger  left  a  message,  Maw! 

MRS.  BASCOM.     (Eyes  on  Bible)    Yes,  dear? 

BETTY.  (Standing  back  of  stand,  hardly  daring 
to  trust  herself  to  speak)  He  said  the — the — deeds 
— was  already — (MRS.  BASCOM  looks  up  from  bible 
• — Her  hand  grips  the  arm  of  the  chair  tightly. 
BETTY  takes  chair  from  back  of  center-table  and 
places  it  R.  of  table,  then  takes  chair  from  L.  of  table 
and  places  it  at  c.)  and — he'll  bring  'em  over  for 
you  to  sign  after  the  store's  closed  up.  (MRS. 
BASCOM  detects  the  quaver  in  BETTY'S  voice.  Looks 
up  at  her  and  smiles) 

MRS.  BASCOM.  Well,  won't  it  be  nice  to  have 
that  all  settled  and  done  with?  We're  goin*  to  be 
real  cozy  in  that  little  cottage,  Betty. 

BETTY.  (Coming  toward  her  mother)  Cottage? 
— It's  a  shanty ! 

MRS.  BASCOM.  (Brightly)  Oh,  no,  dear, — we  can 
fix  it  up  real  nice  and — comfortable.  (BETTY  turns 
front)  Besides  we'll  be  able  to  manage  much 
better  over  there  and,  as  the  Deacon  says,  this  place 
is  too  much  for  us  to  keep  without — without  a  man 
around 

BETTY.  (Suddenly  breaking  down  and  kneeling 
beside  MRS  BASCOM'S  chair)  Oh,  Maw! — If  our; 
Joe  was  only  here. 


44  TURN  TO  THE  RIGHT. 

MRS.  BASCOM.  (Strokes  BETTY'S  head  tenderly) 
We'll  hear  from  him  some  day,  I  know  we  will — 
Why,  I  keep  prayin'  and  prayin'  for  it,  and  every 
time  I  pray  I  jest  know  my  prayer  is  goin'  to  be 
answered. 

BETTY.  (Tearfully)  People  don't  always  get 
what  they  pray  for,  Maw.  (Turns  face  up  stage) 
Lots  of  'em  don't. 

MRS.  BASCOM.  (Trying  to  cheer  BETTY  up,  she 
puts  her  hand  under  BETTY  chin  and  raises  her 
head)  Well,  then,  perhaps  it  ain't  right  that  they 
should. 

BETTY.  (Looking  at  her  mother)  And  you  do 
believe  we'll  hear  from  Joe,  Maw — honestly 

MRS.  BASCOM.  I  know  it,  Betty  (Looks  front) 
I  know  it! 

(MRS.  BASCOM  puts  her  hand  on  the  Bible,  bows 
her  head,  BETTY  zvatching  her. — Pause. — JOE'S 
face  appears,  looking  into  the  kitchen  from  the 
window  at  c.,  then  disappears. — There  is  an 
other  pause,  and  footsteps  are  heard  on  the 
porch.  BETTY  rises  and  goes  up  towards  win 
dow.  There  is  a  knock  at  the  door  L.  c.  BETTY, 
drying  her  eyes,  goes  to  the  door  and  opens  it. 
JOE  stands  in  the  doorway.  He  still  carries  the 
two  bundles  and  appears  just  as  he  did  in  the 
prologue,  except  his  trousers  and  shoes  are 
covered  with  dust.  JOE  and  BETTY  stare  at 
each  other.  MRS.  BASCOM  puts  spectacles 
in  work  basket,  on  shelf  of  stand,  and  the 
bible  on  top  of  stand.) 

JOE.  (Comes  down  L.  of  table,  lays  bundles  on 
it  and  turns  to  his  mother.  MRS.  BASCOM  turns  and 
gazes  at  him)  Hello,  little  Lady! 

(MRS  BASCOM  slowly  rises,  dazed  expression  on 
her  face.  Goes  to  him  and  puts  his  hands  on  his 


TURN  TO  THE  RIGHT.  45 

shoulders — scarcely  believing  it  is  JOE — then  she 
puts  her  arms  about  him.  JOE,  almost  timidly, 
puts  his  arms  about  her.  No  one  speaks — A 
pause — JOE  stands  awkwardly  embarrassed,  as  if 
he  had  forgotten  what  motherly  affection  is  like. 
MRS.  BASCOM  takes  his  face  in  both  hands,  looks 
into  his  eyes  then  kisses  him.) 

(NOTE: — To  get  the  effect  of  the  above  business, 
JOE  should  look  much  taller  than  MRS.  BASCOM. 
She  should  somehow  appear  more  frail,  and 
smaller  than  before.) 

MRS.  BASCOM.  (Half  whispering)  Joey!  My 
Joey!  (Happily)  And  you  come  right  in  the 
middle  of  my  prayer 

BETTY.    (BETTY  has  come  down  R.  of  table)    Joe ! 

JOE.  (Turns  to  BETTY)  Why — this  ain't  Betty? 
(BETTY  throws  her  arms  around  his  neck  and  MRS. 
BASCOM  after  a  glance  of  pleasure  at  JOE  and  BETTY 
suddenly  turns  to  easy  chair,  kneels  beside  it,  bows 
her  head  in  prayer.  BETTY  and  JOE  do  not  see  her) 
Why  you're  all  grown  up,  ain't  you,  kid?  A  lady, 
and  pretty  too! 

BETTY.  (After  smiling  at  compliment)  Where 
have  you  been,  Joe?  Sick? 

JOE.  (Reassuringly)  No— I've  been  fine — never 
better. 

BETTY.  (A  little  sharply)  Then  why  ain't  you 
wrote  us?  It's  been  a  whole  year  since  we  heard 
from  you. 

JOE.  I  know — but  you  see,  kid,  I  went  away — 
unexpectedly 

BETTY.    Why? 

JOE.  Well,  it  was  something  I  had  to  do.  Couldn't 
get  out  of  it. 

BETTY.    But  why  didn't  you  let  us  know  ? 

JOE.    I  was  afraid  it  might  worry  you. 

BETTY.  But  we  have  worried,  Joe — we've 
worried  terrible — — 


46  TURN  TO  THE  RIGHT, 

JOE.  (Half  to  himself)  You've  had  nothin* 
on  me.  (Sincerely)  I'm  mighty  sorry,  kid,  but 
I'm  back  now  and  you're  both  here — and  well — 
thank  God!— Why  Little  Lady—  (He  turns  to  MRS. 
BASCOM)  I've  been — (He  sees  she  is  praying, 
stops  speaking  and  he  and  BETTY  both  stand  silently 
watching  MRS.  BASCOM.  After  a  little  pause.  She 
looks  up  smiles  and  sinks  back  on  the  floor.  JOE 
raises  her  from  a  sitting  position,  as  she  wipes  her 
eyes,  smiling  joyously)  How  have  you  managed 
to  live  without  me  sendin'  you  anything? 

MRS.  BASCOM.  We've  got  on  splendid — had  every 
blessed  thing  we  wanted — exceptin'  you. 

JOE.  That's  the  best  news  I've  heard  in  a  year. 
I've  imagined  all  kinds  of  things  happening  to 
you 

MRS.  BASCOM.  The  idea!  The  Lord  wouldn't 
let  us  want,  Joe. 

JOE.  (Going  to  table  and  taking  up  bundle  con 
taining  shawl)  Here's  a  little  present  I  brought 
you — (Hands  it  to  his  mother,  then  goes  up  and 
closes  door) 

MRS.  BASCOM.  For  me?  Oh,  Joe!  (She  crosses 
to  BETTY  R.  of  table — she  and  BETTY  unwrap  it 
excitedly — MRS.  BASCOM  unfolds  the  shawl)  Look, 
Betty,  ain't  it  lovely  ? 

BETTY.  (Seeing  ticket  pinned  on  it)  What  does 
the  card  say? 

MRS.  BASCOM.    Loan  Bureau  No.  9769. 

JOE  (Quickly  taking  the  card  and  tearing  it  &p) 
Oh,  that's  nothing — it's  a  new  kind  of  store— 
They  call  it  loaning,  so  if  you  want  your  money 
back,  or  to  exchange  it 

MRS.  BASCOM.  (Crossing  to  R. — puts  shawl  on 
chair)  I  don't  want  to  exchange  it — it's  beautiful. 

(BETTY  looks  at  the  other  bundle — JOE  notices  it.) 
JOE.    (  Taking  up  bundle)    Kid,  I  got  you  this 


TURN  TO  THE  RIGHT.  47 

BETTY.  (Taking  bundle  suddenly)  Oh,  thank 
you,  Joe. 

(MRS.  BASCOM  and  BETTY  unwrap  ib — BETTY  holds 
it  up.) 

JOE.  You  see  I'd  forgotten  how  big  you  are.  We 
won't  count  this.  (Takes  the  doll  puts  it  on  table) 
I'll  get  you  a  present  later. 

BETTY.  (Picking  up  the  doll)  Oh,  Joe,  may  I 
give  it  to  Mis'  Mason's  little  girl? 

JOE.    Sure!     (Going  front  of  easy  chair) 

BETTY.    She'll  go  wild  over  it. 

MRS.  BASCOM.  (Arm  around  BETTY  and  smiling 
with  approval)  Betty's  a  dear  good  girl.  But  Joe, 
how  did  you  get  here?  The  7:  10  ain't  in  yet,  is  it? 

JOE.     I  didn't  come  by  train. 

MRS.  BASCOM.  (Crossing  to  JOE,  L.  c.)  Then 
how — Joey  you  ain't  got  one  of  them  automobiles? 

BETTY    Oh,  Joe  have  you? 

JOE.    (Hesitating)    No,  I've  been  walkin'— 

BETTY.     (Disappointed)     Joe ! 

MRS.  BASCOM.    Walkin'? 

JOE.  Yes,  I  like  to  walk  and  this  is  the  first  good 
walk  Fve  had  for  a  long  time. 

MRS.  BASCOM.  I  should  say  you  had  been  walkin' 
— Just  look  at  the  dust  on  you !  Oh,  you  poor  dear 
boy.  (She  gets  whisk  broom  from  shelf  on  L.) 
You  must  be  just  tired  to  death. 

JOE.  No,  not  a  bit — Why  it  was  great  comin* 
through  the  country — seeing  all  the  trees  and  brooks 
and  flowers — it  was  great.  (MRS.  BASCOM  starts 
to  brush  his  clothes)  Here!  Here!  I'll  do  that. 
(He  takes  the  brush  from  herf  goes  out  on  the 
porch)  Say,  what  was  that  I  smelled  when  I  was 
going  past  that  window? 

MRS.  BASCOM  Oh,  that's  a  mess  of  my  peach 
preserves.  (BETTY  puts  doll  on  cupboard  and  the 
paper  under  the  cupboard,  then  places  JOE'S  hat  on 


48  TURN  TO  THE  RIGHT. 

the  rack.    MRS.  BASCOM  puts  shawl  on  easy  ckair) 

JOE.  (On  porch,  brushing  his  clothes)  Well, 
believe  me,  it's  some  mess.  Huyler's  would  smefl 
like  a  delicatessen  compared  to  that.  I  noticed  it 
'way  down  the  road  and  it  smelled  great  too.  Is 
that  perfume — (He  hangs  up  brush  and  comes  down 
L.  of  stand)  to  put  on  women's  handkerchiefs,  or 
is  it  to  eat? 

MRS.  BASCOM.  (Closes  door,  then,  with  startling 
thought)  What  am  I  thinkin'  of,  I  wonder,  standin' 
around  here — (Goes  to  JOE,  putting  her  hands  on 
his  shoulders)  You're  hungry,  aren't  you,  Joe? 

JOE.  Well,  a  little — Have  you  and  the  Kid  had 
supper  ? 

MRS.  BASCOM.  Yes,  but  we  can  get  you  somethin* 
in  a  jiffy.  (Crosses  to  R.  c.) 

JOE.     Don't  go  to  no  trouble. 

MRS.  BASCOM.  Trouble!  (She  looks  at  him 
tenderly  and  smiles)  Why,  that's  real  funny,  Joe — 
Trouble.  (Goes  to  c.  B.) 

(BETTY  gets  white  table  cover  from  drawer  of 
center-table,  spreads  it  over  the  red  one  on 
table,  then  starts  to  set  the  table.  At  right  of 
table  she  places  JOE'S  plate,  cup  and  saucer, 
knife  and  fork.) 

JOE.     (Crossing  to  mother)     Can't  I  help? 

MRS.  BASCOM.  Land  sakes,  no — do  sit  down 
and  rest  yourself — please  do.  (MRS.  BASCOM  stands 
R.  of  chair  that  is  R.  of  table,  JOE  comes  to  it  and 
places  one  knee  on  it,  and  places  his  hands  over  his 
mother  on  the  back  of  chair) 

JOE.  I  can't  understand  how  you  managed  to  get 
along  all  this  year.  How  did  you  do  it? 

MRS.  BASCOM.  Deacon  Tillinger  gave  us  all  the 
credit  we  wanted. 

TOE.    Tillinger ! 

MRS.  BASCOM.     Oh,  he  was  awful  good,  Joe. 


TURN  TO  THE  RIGHT.  49 

JOE.  Well,  can  you  beat  that!— But  anybody'd 
be  good  to  you,  Little  Lady. — They  couldn't  help 
it, — even  Tillinger 

BETTY.  (At  back,  and  L.  of  table)  We've  gone 
into  debt 

JOE.  Don't  let  that  fret  you.  I'll  get  even  with 
Tillinger  first  thing  I  do. 

BETTY.     (Front  of  table)     Oh,  Joe,  will  you? 

JOE.     (Earnestly)    You  bet  I  will. 

BETTY.  Oh,  Maw,  do  you  hear  that?  It's  all 
right  now — It's  all  right,  Joe'll  pay  him.  Won't  you, 
Joe? 

JOE.    Certainly  I'll  pay  him. 

BETTY.  Oh,  that's  fine.  He  was  goin'  to  take 
this  place  and  make  us  get  out  and  move  into  that 
miserable  Jones'  house.  And  now  we  won't  have 
to — Oh,  Maw,  I'm  so  happy!  (Crosses  to  her 
mother)  He's  to  bring  over  all  the  things  for  Maw 
to  sign  to-night.  You  know — that'll  make  him  own 
the  farm — but  now  you  can  pay  him  and  Maw  won't 
have  to  sign  them.  (MRS.  BASCOM  goes  to  c.  B., 
gets  cruet  and  glass  of  spoons)  I'll  run  right  over 
to  the  store  and  tell  him.  (Crosses  towards  door 
L.  c.) 

JOE.  (Stopping  her)  No,  hold  on  a  minute,  Kid. 
You  needn't  do  that. — I'd  better  see  him  myself 
later  on.  (Turns  R.) 

MRS.  BASCOM.  (Going  to  center-table  with  cruet 
and  glass  of  spoons,  puts  glass  at  R.  of  T.)  Oh, 
Betty,  do  let's  give  your  brother  time  to  turn  around 
an*  get  his  breath  before  we  bother  him  with  all  our 
worries. 

JOE.    How  much  is  it  we  owe  Tillinger  ? 
MRS.  BASCOM.     (Back  of  center-table)    We  can 
talk  about  that  after  you've  had  your  supper. 
JOE.    Do  we  owe  him  as  much  as  that  ? 

(MRS.  BASCOM  laughs.) 


SO  TURN  TO  THE  RIGHT. 

BETTY.  (L.  of  table)  It's  a  lot,  one  hundred  and 
twenty-eight  dollars  and  sixty  cents. 

MRS.  BASCOM.  (Anxiously)  Is  it?  Where's  Ife 
bill,  Betty? 

BETTY.  (Goes  to  stand)  But  there's  three  dozen 
jars  of  jam  to  come  off  of  that — (Takes  bill  from 
drawer  of  stand.  MRS.  BASCOM  goes  to  c.  B.  gets 
sugar  bowl  and  a  glass  and  places  them  on  c.  T.) 
that's  thirty-six  times  ten — Thirty-six  dollars — Oh, 
no!  (Her  face  falls)  It's  only  three  dollars  and 
sixty  cents.  That  leaves  (Looks  at  bill)  just  one 
hundred  and  twenty-five. 

JOE.  He  was  going  to  take  this  place  on  account 
of  a  piking  hundred  and  twenty-five  dollars? 

(MRS.  BASCOM  and  BETTY  look  at  each  other,  in 
admiration  of  JOE.) 

MRS.  BASCOM.  (Comes  down  between  table  and 
chair)  Well,  I  don't  suppose  a  hundred  and  twenty- 
five  dollars  seems  much  to  you 

JOE.    Oh,  no,  it  ain't  nothin'  to  me — (Turns  K.) 

(BETTY  puts  bill  back  in  drawer.    Comes  back  fo 
L.  of  table.) 

MRS.  BASCOM.  You  see  we  expected  a  lot  from 
the  peach  crop  this  year.  It's  about  the  biggest 
we  ever  had.  But  now  the  market's  so  over-stocked, 
the  Deacon  can't  sell  ours  at  any  price,  and  he  has 
always  thought  this  farm  was  too  big  for  Betty  an* 
me. 

JOE.  (With  determination.  Hands  on  her 
shoulders)  Well,  you're  going  to  stay  right  here. 

MRS.  BASCOM.  It  will  be  lovely  for  you  to  pay 
him  when  he  comes  to-night.  The  thought  of  leavin' 
here  has  almost  broke  Betty's  heart. 

BETTY.  (Goes  to  her)  It's  almost  broke  yours 
too,  but  you  wouldn't  let  on,, 


TURN  TO  THE  RIGHT.  51! 

MRS.  BASCOM.  (Hands  on  her  shoulders)  Here 
we  are,  standin*  around  and  lettin'  Joe  starve  to 
death.— 

BETTY.  (Going  into  woodshed)  I  can  get  his 
supper,  Maw. 

MRS.  BASCOM.  (Following  her  off)  We  can 
both  get  it,  dear.  We  can  both  get  it.  (Looks  back 
at  JOE  from  doorway) 

JOE.  (Stands  facing  front)  A  hundred  and 
twenty-five  dollars !  (Puts  his  hand  in  pocket  and 
pulls  out  a  one  dollar  bill  and  some  change)  One 
hundred  and  twenty-three,  sixty-five  shy. — (He 
unconsciously  feels  in  vest  pocket,  suddenly  looks 
front,  surprised — draws  out  two  one  dollar  bills. — 
He  quickly  feels  through  all  other  pockets  then, 
with  sudden  comprehension,  his  face  breaks  into  a 
smile)  Muggs  !  (Goes  toward  L. — he  notices  Bible 
on  stand)  Well,  well  well — (Goes  over  to  it  and 
picks  it  up — Looks  at  it — Shakes  his  head,  smiling. — 
Opens  it  at  the  family  page  and  reads — )  Joseph 
Bascom,  born  April  ist,  (He  closes  book,  puts  it 
back,  puts  his  hands  in  his  pockets  and  walks  about 
the  room  in  thought,  turns  up  stage  and  goes  to  win 
dow,  looks  at  lamp  and  the  way  the  curtains  are 
drawn;  turns  front  with  the  thought  that  the  lamp 
was  put  in  the  window  for  him — goes  to  the  pump 
and  tries  it.  His  eye  catches  sight  of  the  clock  on 
chimney  R. — He  stops,  smiles)  Hello,  clock! — 
Remember  me?  (Goes  to  c.  B.)  One  hundred  and 
twenty-five  dollars! — (The  porch  door  opens  sud 
denly  and  ELSIE  enters.* — JOE  turns — they  stand  look 
ing  at  each  other  for  a  moment) 

(ELSIE  TILLINGER  is  an  extremely  pretty  girl  of 
about  twenty,  dressed  simply  but  attractively 
and  in  excellent  taste.  She  wears  a  light  Spring 
gown  but  no  hat  or  gloves.  She  is  a  decided 
blond.  She  closes  the  door  before  speaking.) 

ELSIE.    I  beg  pardon — I — (About  to  turn  away 


52  TURN  TO  THE  RIGHT. 

when  she  recognizes  JOE. — She  stands  limp  and  be 
wildered,  gazing  at  him) 

JOE.    Elsie  Tillinger! 

ELSIE.     (Almost  hysterically)     Joe! 

JOE.  Elsie!  (She  looks  at  him  half  bewildered 
a  moment,  then  rushes  towards  him  as  if  to  embrace 
him.  JOE  meets  her  in  front  of  the  table  and  not 
noticing  her  movement,  with  sudden  thought  of 
what  he  is,  backs  away  a  step,  and  takes  her  hand. 
Shaking  hands)  How  do  you  do, — Miss  Elsie? — 

ELSIE.     (Her  expression  changing)     Miss  Elsie! 

JOE.  (With  embarrassed  laugh)  Well,  I  thought 
I  ought  to  say  that  now, — I  almost  said  Miss 
Tillinger.  (She  is  still  looking  at  him — a  little 
pause — )  You  see — we're  grown  up  now  and  I — 
I'm — Oh,  I'm  so  glad  to  see  you  I  don't  know  what 
I'm  talking  about — yes — (Laughs)  I  beg  your 
pardon,  won't  you  sit  down — (Places  chair  R.  of  T.) 

ELSIE.  (As  she  sits)  I'm  just  beginning  to  get 
my  breath  back.  I  can't  seem  to  realize  that  you're 
here. — Did  anyone  know  you  were  coming  ? 

JOE.    Yes,  I  did. — 

ELSIE.  (Laughing)  But  no  one  else — not  your 
mother  or  Betty  ? 

JOE.    No,  I  surprised  them ! 

ELSIE.  How  happy  they  must  be. — Oh,  Joe.  it's 
been  the  longest  time  since  they've  heard  from  you — 

JOE.  (Serious)  It  has  seemed  like  a  lifetime  to 
me.  (Lighter)  But  I'm  back  now — (Looks  about) 
and  everythin'  here  looks  just  the  same — as  if  I 
hadn't  been  away  at  all.  Why  when  I  came  by  the 
well  out  there  it  looked  so  familiar  I  bowed  to  it. 
(She  looks  away)  That's  where  you  stood,  Elsie, 
the  last  time  I  saw  you 

ELSIE.    (Face  turned  away)    Yes 

JOE.  I  remember  the  dress  you  had  on — (She 
looks  at  him)  it  wasn't  as  long  as  this  one — (Laughs) 
but  you  look  now  as  I  imagined  you  would — only  a 
Jot  more  so. 


TURN  TO  THE  RIGHT.  53 

ELSIE.  (After  a  little  laugh)  And  you've  never 
once  written  to  me  in  all  that  time 

JOE.  I  couldn't,  Elsie — I — (He  walks  away  from 
her,  up-stage;  then  back  to  her,  speaks  with  light  tone 
again)  The  last  I  heard  of  you  you  were  away  at 
school. 

ELSIE.     How  did  you  know  ? 

JOE.  Mother  used  to  write  me — every  letter  had 
something  about  you. 

ELSIE.  And  I  used  to  get  her  to  read  me  your 
letters  before  they  stopped  coming.  (He  looks  at 
her)  And  then  I'd  always  hear  of  the  splendid  way 
you  were  getting  on. 

JOE.     (Bitterly)     Yes? 

ELSIE.  How  you  went  to  church  so  regularly — 
what  a  fine  man  the  minister  was — and  your  friends 
were  all  such  good  religious  people. 

JOE.  (Shaking  head  sadly)  And  she'd  believe 
them? 

ELSIE.  Yes — and  I  was  glad  you  wrote  them — 
they'd  make  her  so  happy. 

JOE.    That's  a  fine  way  to  make  her  happy ! 

ELSIE.  (Turning  away)  It — it  was  much  better 
than  to  get  no  letter  at  all. 

JOE.  (Looks  at  her)  Elsie,  I  never  wrote  to  you 
because — because  I  was  a  failure — a  miserable,  hope 
less  failure! 

ELSIE.  (Rises,  she  looks  at  him  sympathetically) 
But,  Joe, — you're  young !  There's  plenty  of  time  to 
start  over  again. 

JOE.     (Close  to  her)    You  think  so? 

ELSIE.    Of  course  there  is. 

JOE.  (Thinks  of  prison  again — his  eyes  slowly 
•falling)  I  wonder! 

'(BETTY  enters  from  woodshed,  brings  bread  and 
large  pitcher  of  milk.) 

BETTY.    Hello,  Elsie !    He's  back. 


54  TURN  TO  THE  RIGHT. 

ELSIE.  (Smiling)  So  he's  told  me.  ( BETTY  goes 
back  of  center-table  with  bread  and  milk)  I  don't 
suppose  your  mother's  happy  ? 

BETTY.  (Laughing)  Almost  out  of  her  mind. 
(Puts  milk  and  bread  on  table  c.  ELSIE  starts  for 
porch  door)  Oh,  don't  go,  Elsie. 

ELSIE.  This  is  no  time  for  callers.  (Turns  at 
door)  I  only  ran  in  to  ask  you  to  stop  by  for  me 
on  your  way  to  meeting,  but  probably  you're  not 
going  now. 

BETTY.    Oh,  yes,  we  are,  and  Jessie's  comin'  over. 

ELSIE.     Then  why  don't  you  two  stop  for  me? 

BETTY.  (Puts  pitcher  and  bread  on  table  at 
window)  All  right! 

ELSIE.  I'm  awfully  glad  you're  back,  Joe. 
(Opens  door)  Remember  what  I  said ! 

JOE.    I'm  thinkin'  of  it  now. 

ELSIE.  (Leaning  against  door)  Perhaps  you'll 
come  to  meeting? 

JOE.    Perhaps, — I  need  it. 

ELSIE.  No  doubt !  (She  laughs  as  JOE  looks  at 
her,  and  exits) 

( JOE  goes  quickly  up  to  window  and  looks  after  her.) 

BETTY.  (Preparing  table  moves  JOE'S  plate  to  c.) 
The  fellow  Elsie's  goin*  to  marry  was  here  to-day — 
(JoE  turns  quickly,  and  comes  down  R.  c.  BETTY, 
still  busy)  and  Deacon  Tillinger  introduced  me  to 
him.  He's  a  New  Yorker  and  in  society,  and  his 
father's  a  millionaire!  (JoE  is  staring  front)  I 
think  the  Deacon  expected  to  give  them  this  place 
when  they're  married.  But  he  can't  now.  (BETTY 
goes  toward  JOE,  trying  hard  to  think  of  something 
to  say)  Your  supper'll  be  ready  before  long — 
(Crosses  to  door  R.)  Are  you  starvin'? 

JOE.     No — no — don't  hurry. 

BETTY.  (At  woodshed  door,  turns  to  him)  It's 
awful  funny,  you're  my  brother  and  somehow  I 
don't  feel  acquainted  with  you  at  all. 


TURN  TO  THE  RIGHT.  55 

JOE.  Well,  we'll  get  used  to  each  other  in  time. 
(Kisses  her) 

BETTY.  I — I  must  go  back  an*  help  Maw.  (Exit 
to  woodshed) 

(JoE  stands  in  thought.  A  knock  on  porch  door. 
JOE  goes  to  door,  opens  it.  MUGGS  and  GILLY 
stand  outside.) 

JOE.     (In  startled  voice)    You  two! 

MUGGS.    (As  they  enter)    Well,  I'll  be 

GILLY.     (Closes  door  is  R.  of  MUGGS)     Pete! 

JOE.  Ssh!  (Looks  R.,  continues  in  low  tone; 
is  R.  of  GILLY)  What  the  devil  do  you  fellows 
mean  by  following  me? 

( MUGGS  and  GILLY  stop  short.) 

MUGGS.    We  didn't  follie  yer. 

JOE.    Don't  try  to  kid  me. 

GILLY.    No — on  the  level,  we  didn't. 

MUGGS.  We  hops  a  freight  for  the  big  town* — 
gits  in  an  empty  an'  what  do  they  do  but  switch  us 
off  on  a  siding  over  there  and  leave  us  flat.  It's 
dark  an'  we're  broke  an'  starvin' — so  we  quits  the 
empty  to  look  for  a  hand-out 

JOE.  (Not  believing  it)  Too  bad,  boys,  but 
I'm  afraid  you'll  have  to  take  a  sneak.  (Crosses 
to  door  R.  and  listens) 

MUGGS.  (  MUGGS  and  GILLY  come  down  L.  c.) 
Oh,  this  is  where  the  dame  is. 

GILLY.  Sure.  (  GILLY  and  MUGGS  look  at  each 
other) 

MUGGS.  What  d'you  think  of  that.  A  rube 
dame!  Come  on,  Gilly.  (Start  for  porch  door) 

JOE.  I'm  sorry,  boys.  (Comes  to  them  back  of 
table) 

GILLY.  (Hesitating  a  moment)  Was  it  all 
right,  Pete?  She  hadn't  forgot  yer? 


56  TURN  TO  THE  RIGHT. 

JOE.     (Shaking  head  impatiently)     No. 
GILLY.     (Shaking  JOE'S  hand)    We  didn't  mean 
to  butt  in — on  the  level  we  didn't 

(MRS.  BASCOM  enters  from  the  woodshed,  with  dish 
of  lettuce.) 

MRS.  BASCOM.  (As  she  enters,  comes  R.  of  table) 
Joey,  do  you  like — (Sees  MUGGS  and  GILLY)  Oh! 
(Pause) 

( MUGGS  and  GILLY  take  off  hats.) 

JOE.  Little  Lady,  these  are  a  couple  of  pals  of 
mine — business  acquaintances — this  is  Mug — M — 
Mr.  McCarthy—  (Indicating  MUGGS)  and  this  is 
Mr. — Gilbert.  Fellows,  this  is  my  mother. 

(The  boys  stand  astonished.) 

MRS.  BASCOM.  Well— well— well.  (Puts  dish 
of  lettuce  on  table  and  going  to  them  L.  of  table, 
smiling)  I'm  real  glad  to  see  you,  Mr.  Gilbert. 
(She  shakes  hands  with  GILLY.  JOE  comes  down  R. 
of  table) 

GILLY.  (Much  embarrassed)  Thank  you, 
Ma'am. 

MRS.  BASCOM.  And  you  too,  Mr.  McCarthy. 
(Shakes  hands  with  him,  then  crosses  to  parlor  door. 
MUGGS  bows  and  smiles — follows  her  with  his  eyes) 
Won't  you  both  step  right  into  the  parlor ! 

Mur,GS.  Oh,  no,  ma'am,  no.  We — we  got  to  be 
gettin'  on. 

GILLY.  We're  in  a  sort  of  a  hurry.  (Starts  for 
door) 

MRS.  BASCOM.  (Surprised)  Oh,  ain't  that  too 
bad!  (Crosses  to  JOE  at  R.  of  table)  Joey,  dear 
I  hope  they  ain't  goin'  because  they're  afraid  they 
took  me  by  surprise.  (Comes  back  to  MUGGS  and 


TURN  TO  THE  RIGHT.  57 

GILLY)  Joe  didn't  tell  me  you  was  comin'  but  he 
has  only  just  got  here  himself,  an'  I  hain't  given  him 
a  chance  to  tell  me  much  of  anythin'  yet. 

GILLY.  Well,  you  see  he  didn't  know  we  was 
comin*. 

MRS  BASCOM.    Oh! 

MUGGS.    No,  ma'am,  we  blows  in — unexpected. 

MRS.  BASCOM.    Surprised  him. 

GILLY.    Yes'm. 

MRS.  BASCOM.  (Goes  to  JOE  R.  of  table)  Well 
ain't  that  nice!  (Turns  to  GILLY  and  MUGGS) 
Can't  you  stay  to  supper? 

(JoE  goes  up  back  of  table.    MUGGS  and  GILLY  look 
at  each  other.) 

MUGGS.    Supper ! 

MRS.  BASCOM.  Joe's  just  goin'  to  have  his.  I 
got  plenty — can't  you?  (She  looks  smilingly  at 
MUGGS  and  GILLY.  MUGGS  smacks  his  lips) 

GILLY.  (Glancing  at  JOE)  Well,  we're  much 
obliged,  ma'am,  but  we  am't  exactly — er — hungry. 

( MUGGS  and  GILLY  start  for  door.) 

JOE.  (Watching  them  and  relenting)  I  guess 
you  better  stay.  You  can  spare  that  much  time. 

MRS.  BASCOM.  Oh,  do,  that'll  be  lovely,  an'  then 
Joe  won't  have  to  eat  alone. 

(GiLLY  and  MUGGS  look  anxiously  at  JOE.) 

JOE.  (Signaling  that  it's  all  right)  Come  on — 
stay! 

MUGGS.  Why,  sure,  if  he's  got  to  eat  alone — we'll 
keep  him  company — won't  we  Gil — Mr.  Gilbert? 

GILLY.  (Looks  at  MUGGS,  then  at  MRS.  BASCOM) 
I — I  don't  mind. 

MRS.  BASCOM.    (Placing  chair  R.  of  table)    That's 


58  TURN  TO  THE  RIGHT. 

real  good  of  you.    Just  set  right  down.    I  wont  be 
no  time.    (She  exits  into  woodshed) 

(  MUGGS  and  GILLY  stand  motionless  a  moment,  JOE 

watching  them.) 

MUGGS.  (Looks  after  MRS.  BASCOM)  Your 
mother — (Looks  front)  And  we  thought  it  was  a 
dame!  Say — (He  looks  about  the  kitchen)  Can't 
we  clean  up  a  little  ? 

JOE.  Sure — (Pumps  basin  of  water  at  sink. 
MUGGS  hangs  his  hat  on  rack  at  door,  GILLY  puts  his 
on  easy  chair,  they  start  for  sink,  and  stop  half  way 
as  JOE  is  pumping  the  water)  Help  yourselves. 

(  MUGGS  and  GILLY  go  quickly  for  basin,  and  wash 
at  the  same  time.  GILLY  crosses  in  front  of 
table  and  is  R.  of  MUGGS  at  the  sink.  JOE  gets 
towel  from  cupboard;  they  each  use  an  end  of 
it,  during  which  following  is  spoken.) 

JOE.  Fellows,  I'd  rather  drop  dead  than  to  have 
my  mother  find  out  about  me,  and  your  being  here 
scares  me  to  death. 

MUGGS.     (Crossing  to  him)     Listen,  Pete 

JOE.  (Handing  towel)  Nix  on  that  "Pete." 
My  name's  Joe,  Joe  Bascom — and  I'm  in  business* 
(Crosses,  takes  chair  by  window  and  places  it  L. 
of  table) 

GILLY.    What  business  ? 

(GiLLY  and  MUGGS  are  both  wiping  on  the  same 
towel.  GILLY  starts  towards  JOE  with  his  end 
of  towel.  MUGGS  pulls  him  back.) 

JOE.  I  dunno — just  business.  Don't  try  to  make 
it  one  thing  or  another.  You  live  in  New  York — 
but  don't  give  any  address,  see  ? 


TURN  TO  THE  RIGHT.  59 

(GiLLY  throws  towel  in  sink,  then  realising  what 
he  has  done,  takes  it  and  hangs  it  on  the  towel 
rack  by  the  window. ) 

MUGGS.  (Crossing  to  JOE)  Wegotyer.  We  got 
yer.  Don't  think  we're  goin'  to  get  you  in  wrong. 
Why,  I'd  rather  cut  me  throat  than  have — her — get 
wise. 

GILLY.    Me,  too.    Perhaps  we'd  better  sneak  now. 

JOE.  No,  wait  for  the  chuck — but  for  God's  sake 
be  earful. 

MUGGS.  (Seeing  kettle  of  preserves  at  window, 
leans  over  table  and  smells  it.  To  GILLY)  That's 
it — (Again  leans  over  and  sniffs  it)  that's  the  stufr, 
that  brought  us  here. 

GILLY.  (Goes  to  kettle)  That's  what  it  is— We 
smells  it  'way  up  the  road  and  we  follows  the  scent 
right  to  this  door.  (Crosses  at  back  and  down  to 
easy  chair  L.  Gets  hat) 

MUGGS.  (Indicating  off  R.)  She  made  it,  didn't 
she? 

JOE.    Sure ! 

MUGGS.  (Looking  front  and  smiling)  Somehow 
you'd  know  it  was  her. 

GILLY.  (Looking  front  thoughtfully)  The  way 
she  smiles  at  us — that's  what  I  keeps  thinkin'  of — 
(Holding  out  his  hand  as  he  remembered  MRS. 
BASCOM  had  done)  "  I'm  real  glad  to  see  you,  Mr. — " 
Say!  What's  me  name? 

JOE.  (After  a  moment's  thought)  Gilbert — Mr. 
Gilbert. 

GILLY.    Yes,  Gilbert — Have  I  got  a  first  name  ? 

JOE.    What's  your  own  first  name? 

GILLY.    When  I  was  a  kid  they  called  me  Dudley. 

MUGGS.    Mine  was  Lucius. 

JOE.  (Smiling)  Well,  Dudley  Gilbert  and  Luc 
ius  McCarthy. 

MRS.  BASCOM.  (Off  R,)  All  ready,  boys.  (A 
pause) 


60  TURN  TO  THE  RIGHT, 

GILLY.    Some  voice. 

MUGGS.    "Boys." 

JOE.  Sit  down,  fellows.  ( MUGGS  goes  to  chair 
R.  of  table,  JOE  above  table,  and  GILLY  puts  hat  m 
easy  chair,  then  goes  L.  of  table.  BETTY  enters  with 
dish  of  potatoes.  As  she  holds  the  shed  door  open 
the  sound  of  chicken  frying  outside  is  heard.  GILLY 
about  to  sit,  stops  and  looks  at  her  admiringly. 
MUGGS  sits,  his  back  to  her.  BETTY  stops  at  door) 
Fellows  this  is  the  kid  sister,  Mr.  Gilbert. 

GILLY.  (Recalling  what  MRS.  BASCOM  said,  and 
with  hand  extended)  "  I'm  real  glad  to  see  you." 

BETTY.  Pleased  to  meet  you,  I'm  sure.  (Puts 
potatoes  on  c.  B.) 

JOE.  ( MUGGS  looks  at  JOE,  then  rises)  Oh !  And 
Mr.  McCarthy 

BETTY.  Pleased  to  meet  you,  I'm  sure.  (She 
takes  plates,  knives,  forks,  etc.,  from  cupboard,  for 
MUGGS  and  GILLY. 

MUGGS.  So  am  I.  (Offering  her  his  seat)  You 
take  this  chair. 

BETTY.  Oh,  no,  thank  you.  Maw  an*  me  have 
had  supper.  (Places  plate  for  MUGGS,  then  crosses 
and  does  same  for  GILLY.  Gets  the  dish  of  potatoes 
from  cupboard  and  crosses  to  L.  of  JOE) 

(MRS.    BASCOM    enters    with    plait er    of    broiled 
chicken.) 

MRS.  BASCOM.  (Goes  to  R.  of  JOE)  Sit  right 
down,  boys — Land  sakes,  I'm  calling  you  "  boys." 

( MUGGS  and  GILLY  sit.) 

JOE.    That's  all  right,  mother.    They  don't  mind. 

GILLY.    Oh,  no,  ma'am. 

MUGGS.     (Looking  at  BETTY)    We — we — like  it. 

(BETTY  stands  above  table  on  JOE'S  L.,  holding  dish 


TURN  TO  THE  RIGHT.  61 

of  potatoes.    MRS.  BASCOM  on  JOE'S  R.,    JOE 
starts  to  take  dish  of  chicken  from  his  mother.) 

MRS.  BASCOM.     (Still  holding  the  platter)     You 
ain't  asked  the  blessing,  Joey,  dear. 
JOE.    Oh! 

(MRS.  BASCOM  and  BETTY  close  their  eyes,  JOE 
glances  at  MUGGS  and  GILLY,  then  bows  his 
head.  They  look  at  him  surprised.  He  secretly 
motions  them  to  do  the  same.  They  bow  their 
heads.  JOE  numbles  a  blessing  that  ends  with 
an  audible  "Amen."  GILLY  still  keeps  head 
bowed.  They  look  at  him  and  MUGGS,  reach 
ing  under  table,  kicks  him.  GILLY  quickly 
straightens  up.  On  "  Amen "  BETTY  comes 
round  to  MUGGS  and  helps  him  to  potatoes, 
then  turns  back  to  GILLY  and  does  the  same. 
Then  helps  JOE  to  potatoes.  JOE  helps  them  to 
chicken.  MRS.  BASCOM  gets  large  pitcher  of 
milk  and  glass  from  table  at  window.) 

MRS.  BASCOM.  (To  MUGGS)  Wouldn't  you  boys 
like  a  nice  glass  of  milk  ? 

MUGGS.    Well,  I  ain't  never  used  it  much. 

MRS.  BASCOM.  (Filling  glass  and  offering  it  to 
him)  Well,  you  try  that. 

MUGGS.  (  MUGGS  does  so  gingerly  looking  at 
GILLY  in  surprise)  Gee,  that's  bully !  (Looking  at 
MRS.  BASCOM)  Ain't  there  nothin'  in  it  but  milk? 

MRS.  BASCOM.    Phoebe  gives  real  good  milk. 

MUGGS.    Phoebe? 

MRS.  BASCOM.  Yes,  she's  a  Jersey.  ( MUGGS 
drinks)  Pass  Mr.  McCarthy  the  bread,  Betty. 
(Takes  glass  from  table  at  window  and  then  goes  to 
GILLY)  You'll  have  a  glass  of  milk,  Mr.  Gilbert? 

(BETTY  goes  to  cupboard  and  gets  jar  of  jam.) 
GILLY.    Have  you  got  plenty? 


62  TURN  TO  THE  RIGHT. 

MRS.  BASCOM.  Land  sakes,  yes.  (Filling  glass 
for  GILLY,  then  puts  pitcher  on  table  at  window, 
empties  and  hangs  up  wash  basin) 

BETTY.  (Comes  above  MUGGS — shyly  to  him) 
Will  you  try  some  of  Maw's  preserves  ?  ( Offering 
him  jar,  after  taking  out  the  spoon,  which  she  later 
hands  to  GILLY  as  she  crosses  to  L.  c.) 

MUGGS.  (Takes  preserves  and  gets  spoon  from 
holder)  Is  that  what  we  smelled?  (Puts  a  spoon 
ful  on  plate) 

BETTY.    I  guess  so,  Maw's  been  cookin'  it  to-day. 

MUGGS.  (Tasting  it)  Say,  that's  too  good  to  eat. 
It  ought  to  be  set  in  a  pin. 

(BETTY  laughs,  crosses  to  L.  c.  GILLY  reaches  over 
and  takes  jar  of  jam  and  helps  himself  liberally 
with  spoon  BETTY  hands  him.) 

MRS.  BASCOM.  (R.  of  JOE)  Have  you  got  every 
thing,  Joey  dear? 

JOE.  Everything,  Mother  (His  arm  around  her) 
and  it's  bully  too.  I've  been  thinkin*  I  might  get 
my  friends  to  change  their  minds  and  stay  overnight. 

MRS.  BASCOM.  (R.  of  JOE)  Won't  that  be  lovely ! 
(To  MUGGS  and  GILLY)  I  do  wish  you  would. 

JOE.    Have  you  got  a  place  for  them  ? 

MRS.  BASCOM.  Why,  yes,  Uncle  George's  room, 
— if  they  don't  mind  sleeping  together. 

( GILLY  and  MUGGS  look  at  each  other.) 

MUGGS.    Oh,  no,  mum.    We  don't  mind. 

MRS.  BASCOM.  It's  a  nice  wide  bed — Uncle 
George  died  in  it.  (Arranges  cloths  on  hanger) 

MUGGS.  Well,  Uncle  George'll  have  nothin'  on 
me. 

MRS.  BASCOM.  (Goes  to  hat-rack)  Now  the 
boys'll  want  to  talk,  Betty,  an'  we  must  get  ready  for 
meetin*. 


TURN  TO  THE  RIGHT.  0$ 

(BETTY  starts  for  door  L.) 

MUGGS.  (Rises,  GILLY  does  the  same,  but  does 
not  turn  around)  Good-even',  Miss  Bascom — and 
— thank  you 

BETTY.  (Smiling  at  him)  You're  welcome,  I'm 
sure.  (She  exits  door  LV  up-stairs) 

( MUGGS  sits  again  at  table,  GILLY  does  the  same, 
MRS.  BASCOM  gets  hat  and  wrap  from  hat-rack, 
and  shawl  from  easy  chair,  is  about  to  follow 
BETTY  out  but  stops  and  comes  back  to  JOE.) 

MRS.  BASCOM.  (L.  of  JOE)  Joey,  dear,  can't  you 
come  to  meetin'  with  us?  It  would  be  so  nice  on 
your  first  night  home. 

JOE.    Why,  of  course. 

MRS.  BASCOM.  Perhaps  you  boys  would  like  to 
come  too? 

GILLY.    Where  is  it  at, — in  a  church  ? 

MRS.  BASCOM.    No,  it's  in  the  Chapel. 

GILLY.    Oh ! 

MUGGS.  We'll  take  a  chance  if  you  want  us  to— 
won't  we — Gilbert  ? 

GILLY.    Sure. 

MRS.  BASCOM.  Oh,  that's  lovely.  (Goes  to  door 
L.)  Now,  call  me,  Joey,  if  you  want  any  thin*. 

JOE.    All  right,  mother. 

(MRS.  BASCOM  turns  and  looks  at  them  with  a  happy 
smile,  she  exits  D.  L.) 

MUGGS.  I've  had  some  swell  dreams  in  my  life — 
but  nothin'  like  this!  (They  all  eat  thoughtfully) 
What  about  havin'  us  guys  in  de  church,  kid? 

JOE.  It's  all  right,  I  guess.  It  would  make  an 
awful  hit  with  her.  What  do  you  think,  Gilly  ? 

GILLY.  Go  to  church? — Why  I'd  go  to  hell  for 
that  old  lady — she — she — No  wonder  you  was 


64  TURN  TO  THE  RIGHT. 

worryin'  all  last  year.    I  never  seen  no  one  like  her. 

MUGGS.  (Deep  in  thought,  looking  front)  Betty! 
(JoE  and  GILLY  look  at  him.  MUGGS,  suddenly 
"  coming  to  ")  Betty — that's  the  sister's  first  name, 
ain't  it  kid? 

JOE.    Yes,  that's  it. 

MUGGS.  I  was  try  in*  to  remember  it.  (Eats) 
Suppose  the  gang  could  see  us  now — wid  our  milk 
an'  jam. 

GILLY.  I  didn't  know  there  was  such  chuck  in  the 
world. 

MUGGS.  Us  lookin'  fer  a  bum  hand-out  and  fall- 
in'  up  against  this  Tiffany  food. 

GILLY.  And  how  can  everything  be  so  clean? 
(About  to  drink  from  glass  when  he  notices  it  is 
empty.  Rises,  goes  and  fills  glass  from  pitcher  on 
table  at  window) 

JOE.  It's  quite  a  farm.  Got  a  big  peach  orchard 
on  it — Finest  fruit  in  the  State.  (Gilly  sits  again, 
L.  of  table) 

MUGG.    And  you're  goin'  to  stay  here  an'  run  it? 

JOE.  I  was — but  I  don't  know  now.  My  mother 
and  the  kid  was  figurin'  they'd  got  to  get  out  just 
before  I  come.  (  MUGGS  and  GILLY  look  at  each 
other)  I  got  to  dig  up  some  coin  somewhere,  right 
away. 

MUGGS.    What's  the  matter? 

JOE.  Well,  my  mother  owes  a  bill  to  the  village 
Shylock,  see  ?  And  before  I  am  wise  as  to  how  she 
stands  I  make  her  think  I'm  loaded  down  with  coin 
and  can  settle  everything  up  for  her.  Then  I  find 
out  this  guy  has  got  it  all  framed  to  take  this  farm — 
I  don't  know  exactly  how,  but  I  know  him,  and  it's 
a  pipe  he's  doped  out  some  way  he  can  do  it  by  law. 

GILLY.    How  much  you  got  to  get  ? 

JOE.  The  bill  my  mother  thinks  I'm  goin'  to  pay 
to-night  is  a  hundred  and  a  quarter. 

MUGGS.  (Rising  quickly,  gets  hat  from  hat-rack) 
When's  the  next  train  for  the  Bronx? 


TURN  TO  THE  RIGHT.  65 

JOE.    No,  nothin'  doin',  Muggs. 

MUGGS.  (Comes  back  R.  of  table)  You  needn't 
be  in  on  this  at  all.  Gilly  an*  me'll  have  a  roll  for 
you  as  soon  as  we  can  get  there  an*  back. 

GILLY.  (Rising)  Sure.  I'd  commit  murder  for 
that  old  lady. 

JOE.  Sit  down.  Sit  down  both  of  you.  ( MUGGS 
and  GILLY  sit)  I  know  you'd  both  go  through  for 
me  but  I  wouldn't  let  you.  I'm  goin'  to  talk  with  this 
guy  first  an'  see  if  I  can  work  it  out  some  way.  It's 
no  cinch  goin'  to  him  because  we  love  each  other  like 
a  couple  of  rattlesnakes.  I  ran  away  from  home  on 
his  account. 

MUGGS.    How  was  that? 

JOE.  (Hesitating)  Well  I — I  used  to  like  his 
daughter.  (Looking  front)  Now  I've  got  to  go 
to  her  old  man  an*  beg  for  mercy. 

MUGGS.  But  if  he  turns  you  down  and  you  can't 
give  him  that  hundred  an'  twenty-five  bucks  to-night, 
your  mother  will  get  wise  that  you  are  four-flushing, 
won't  she? 

JOE.    That's  what  I'm  afraid  of. 

GILLY.  (suddenly)  Is  there  anybody  in  this 
town  got  a  hundred  and  twenty-five  ? 

JOE.  Only  this  guy  we  owe  it  to — he's  got  a  bar 
rel  of  it. 

GILLY.    Where  does  he  keep  his  barrel  ? 

MUOGS.  Say,  listen  here,  Joe  I  could  take  it  out 
of  his  shoe  and  he'd  never  feel  it. 

GILLY.  Aw,  what'er  you  talkin'  about — them 
rubes  don't  never  carry  a  roll — they  bury  it. 

JOE.  I  wouldn't  stand  for  anything  like  that — and 
if  I  would  you  could  never  get  near  any  of  Till- 
anger's  coin. 

MUGGS.  If  he  keeps  any  of  it  in  this  town,  Gilly 
could— (Indicating  GILLY)  Why  that  guy  taught 
Houdini  all  he  knows. 

GILLY.    Tillinger,  is  that  his  moniker? 

JOE.    Yes,  Deacon  Tillinger. 


66  TURN  TO  THE  RIGHT. 

MUGGS.    What  is  he — a  fanner? 

JOE.  No, — he's  got  a  big  store — groceries— 
(GiLLY  looks  front)  and  most  everythin'  else. 
(Rises,  gets  hat  from  hat-rack)  I've  got  to  go  an* 
see  him  now  and  try  to  keep  him  away  from  here. 
I'd  better  go  and  tell  my  mother  I'm  going  out  for  a 
walk.  I'll  be  back  in  a  few  minutes.  (Exits  out 
door  L.) 

MUGGS.  (rising)  We  got  to  help  the  kid  out 
some  way,  Gilly. 

GILLY.  How  yer  goin'  to  help  him  if  he  won't 
stand  fer  it? 

MUGGS.  Dig  up  a  roll  an*  tell  him  we  borrowed 
it. 

GILLY.  (Rising)  We  might  take  a  look  at  this 
guy  Tillinger's  dump. 

(BETTY  enters  from  upstairs  door  L.  She  has 
changed  her  dress  and  now  wears  a  very  simple 
street  costume,  her  best.) 

BETTY.  Excuse  me,  but  I  saw  a  friend  of  mine 
comin'.  (She  goes  up  to  door  of  porch.  MUGGS 
crosses  to  L.  She  opens  door)  Come  in,  Jessie. 

JESSIE.  (Outside)  Hello,  Betty.  Elsie' just  told 
me  your  brother  was  back.  My — it  must  have  been 
a — (She  enters,  sees  MUGGS  and  GILLY.  BETTY  is 
very  important  and  self  conscious) 

BETTY.    This  is  Miss  Strong,  Mr.  McCarthy. 

MUGGS.     (Bowing)    Tickled  to  death. 

(JESSIE  comes  down  L.  c.  bows,  then  looks  at  GILLY.) 

BETTY.  (L.  of  JESSIE)  And  Mr. — Mr. — I'm 
awfully  sorry  but  I've  forgotten  your  name. 

GTLLY.  Why  my  name  is — tell  her  what  it  is, 
will  yer? 

MUGGS.  (Trying  to  think)  Sure,  I'll  tell  her  what 
yer  name  is.  It's — Oh — tell  her  yourself.  You  ain't 
afraid  to  tell  her  your  name,  are  you  ? 


TURN  TO  THE  RIGHT.  67 

BETTY.    Oh,  yes,  I  remember — Mr.  Gilbert. 

GILLY.    That's  it— Gilbert. 

MUGGS.  You  see  I  just  made  him  a  bet  you 
wouldn't  remember  it,  so  we  didn't  want  to  tell  you 
till  you'd  had  a  chance  to  think. 

BETTY.  Mr.  Gilbert — Miss  Strong.  (She  puts 
cruet  and  sugar  bowl  on  c.  B.  and  gets  dish  pan 
and  starts  clearing  the  table,  picking  up  the  dishes, 
putting  them  into  the  pan.  Leaves  a  cup  and  saucer 
-for  GILLY) 

JESSIE.    How  do  you  do? 

GILLY.    He—he ! 

BETTY.    Friends  of  Joe's  from  New  York. 

JESSIE.     (Going  L.)     Indeed. 

GILLY.    Yes,  just  passing  through. 

MUGGS.  (Goes  to  BETTY  back  of  table)  Let  me 
help  you  with  them  things. 

BETTY.    Oh,  no,  thank  you,  don't  trouble  yourself. 

MUGGS.  (Helps  BETTY  clear  the  table)  Oh, 
please.  No  trouble  at  all. 

JESSIE.  Did  you  and  Mr.  McCarthy  come  with 
Mr.  Bascom? 

GILLY.  (Crosses  to  JESSIE)  Not  with  him  ex 
actly — sort  of  after  him. 

JESSIE.     Haven't  you  been  here  before? 

GILLY.    No,  Ma'am,  not  before  this. 

JESSIE.    What  do  you  think  about  our  village  ? 

GILLY.    Why 

MUGGS.  (Helping  GILLY  out)  It's  aces.  We're 
thinkin'  of  wrappin'  it  up  an'  takin'  it  back  to  New 
York  with  us.  (Puts  dish  pan  in  sink,  then  he  and 
BETTY  finish  clearing  the  table,  putting  bread, 
chicken,  etc.,  on  table  at  window,  then  goes  L.  of 
c.  T.) 

(The  girls  laugh  politely.) 

JESSIE.     (Going  to  table  at  c.)    Can't  1  help? 
GILLY.     Lets  me  an'  you  carry  over  this  cup. 


68  TURN  TO  THE  RIGHT. 

(They  take  cup  up  to  table  at  window) 

BETTY.  (Taking  off  white  table  cloth,  goes  to 
door,  shakes  it  and  folds  it,  then  puts  it  in  drawer 
of  table)  Oh,  Jessie,  Elsie  Tillinger  wants  us  to 
stop  by  for  her. 

(JESSIE  crosses  to  c.  B.) 

MUGGS.  That's  the  name  of  the  man  that  owns 
the  grocery  store,  ain't  it  ? 

(  GILLY,  on  hearing  the  grocery  store  mentioned, 
becomes  interested  and  comes  R.  of  table.) 

JESSIE.    Yes. 

MUGGS.  (Looks  at  GILLY  significantly,  is  L.  of 
table)  You  see — me  and  Mr.  Gilbert  are  thinkin* 
about  openin'  a  grocery  store  ourselves. 

JESSIE.    Are  you? 

GILLY.     (Smiling  at  JESSIE)    Oh,  yes. 

JESSIE.  Tillinger's  a  big  store — that  is  for  such 
a  little  place. 

MUGGS.  I'd  like  to  see  it  sometime,  to  see  how 
business  is  around  here. 

JESSIE.  (Going  to  window)  You  could  find 
Deacon  Tillinger  there  now  if  you  wanted  to  see 
him — the  light's  still  on  in  the  store. 

(GiLLY  goes  up  R.  of  JESSIE  to  window.  MUGGS 
goes  up  L.  of  table  to  window.  BETTY  has  put 
white  cloth  in  drawer,  takes  vase  of  flowers 
from  shelf  on  wall  L.  and  places  it  on  center- 
table.) 

GILLY.    (R.  of  JESSIE)    Which  light? 

JESSIE.  The  big  one,  just  between  those  two  little 
ones. 

BETTY.  (In  front  of  table)  It's  an  old  store — 
but  it's  a  real  nice  one. 


TURN  TO  THE  RIGHT.  69 

GILLY.    (Coming  R.  c.)    How  does  it  look  inside? 

BETTY.  Well,  in  the  front  part  they've  got 
counters  on  each  side  and  down  the  center.  One 
side  is  all  groceries  and  the  other  side  is  drygoods, 
and  in  the  middle  is 

MUGGS.  (Standing  R.  of  BETTY)  Barrels  of 
flour,  molasses  and  potatoes. 

BETTY.  Oh,  no — they  keep  all  the  barrels  in  the 
cellar. 

GILLY.  (Standing  R.  of  MUGGS)  How  do  they 
get  'em  in  there  ? 

BETTY.    Why,  they  let  them  down  the  cellar  steps. 

MUGGS.  (To  BETTY)  Oh,  they  got  cellar  steps? 
Don't  they  interfere  with  the  show  windows  ? 

BETTY.  Why  the  cellar  steps  ain't  in  the  front 
of  the  store — they're  around  in  the  back,  under  the 
office. 

MUGGS.  Oh,  I  see.  (To  GILLY)  The  office  is  in 
the  back  of  the  store.  (  GILLY  smiles  at  JESSIE. 
To  BETTY)  We  was  goin'  to  have  our  office  in  the 
front.  (To  GILLY)  I'm  always  tellin'  you  the  back 
of  the  store  is  the  best  place  for  an  office. 

GILLY.    Well,  yer  can't  get  such  good  light  there. 

JESSIE.  (Standing  R.  of  GILLY)  There's  plenty 
of  light  in  Deacon  Tillinger's  office.  There's  a  big 
window  right  by  the  desk. 

GILLY.    By  his  desk  ? 

JESSIE.  No,  the  book-keeper's  desk.  The 
Deacon's  desk  is  over  in  the  other  corner  near  the 
safe. 

MUGGS.  (To  GILLY)  Of  course,  that's  the  place 
for  it — right  by  the  safe.  (To  JESSIE)  The  store's 
been  here  for  some  time,  eh? 

JESSIE.  Oh,  yes,  the  Deacon's  father  had  it  be 
fore  he  did. 

MUGGS.  (Crossing  to  front  of  table)  I  like  old 
stores  and  old  desks  and  old  safes. 

BETTY.  (Going  up  to  window)  Look!  They've 
closed  up,  the  light's  just  gone  out. 


70  TURN  TO  THE  RIGHT. 

(GiLLY  smiles  at  JESSIE  and  goes  towards  MUGGS. 
MUGGS  and  GILLY  look  at  each  other.) 

MUGGS.  Ain't  it  time  you  was  takin'  your  ex 
ercise,  Mr.  Gilbert? 

GILLY.  (  Crossing,  takes  hat  from  easy  chair,  then 
goes  up  to  D.  of  porch)  Sure.  I  think  I'll  go  out 
and  take  a  little  walk. 

MUGGS.  (Crossing  to  c.  B.)  Mr.  Gilbert's  doctor 
always  makes  him  take  a  walk  after  eatin*. 

JESSIE.  (Crossing  to  front  of  table)  Good-night, 
Mr.  Gilbert. 

GILLY.    (Opens  door)    Good-night! 

BETTY.  (Back  of  table)  You're  comin'  back, 
aren't  you? 

GILLY.  (To  BETTY)  Oh,  yes.  (To  JESSIE)  It 
won't  take  me  long.  {Exits  to  porch) 

BETTY.  (To  JESSIE)  Oh,  Deacon  Tillinger  said 
he  was  comin'  over  here  on  business. 

JESSIE.  (Going  up  to  porch  door)  Oh,  dear, 
then  we'd  better  go  over  to  Elsie's. 

BETTY.  (Rather  hurriedly)  Yes,  let's.  Won't 
you  come  along,  Mr.  McCarthy? 

MUGGS.    How  far  is  it? 

BETTY.    Just  down  the  road  a  piece. 

MUGGS.  Well,  I'll  walk  down  with  yer  but  I  can't 
go  in.  I  got  some  business  with — with  Mr.  Bascom. 

JESSIE.  (Has  opened  door  and  is  standing  on 
porch)  Come  along.  (Exits) 

(BETTY  goes  to  door.    MUGGS  starts  to  go  out  door, 
then  steps  back  and  bows  to  BETTY.) 

MUGGS.    After  you. 

BETTY.  (Smiling  at  him)  Thank  you.  (She 
exits) 

(MuGGS  delighted  at  her  smile,  glances  around  front 
a  moment,  then  puts  hat  jauntily  on  one  side 


TURN  TO  THE  RIGHT.  71 

of  his  heady  arranges  coat  and  tie,  and  exits, 
closing  door.    JOE  enters  from  L.) 

JOE.  Betty!  (He  goes  to  woodshed  door  and 
looks  in,  then  goes  to  window  and  looks  out. 
Evidently  sees  someone  coming.  Comes  down  R.  of 
table  c.,  puts  hat  on  table)  Tillinger — (Turns  to 
ward  porch  door.  Puts  hands  in  pockets  and  stands 
waiting  determined.  Pause.  The  door  opens  and 
TILLINGER  enters.  He  stops  and  looks  at  JOE  m 
great  surprise.  His  face  falls,  his  manner  changes) 

TILLINGER.  (After  eyeing  JOE  sharply)  You're 
back,  are  you  ? 

JOE.  (With  attempt  to  be  pleasant)  Yes,  sir — 
won't  you  sit  down,  Mr.  Tillinger. 

TILLINGER.  (Without  moving)  I'm  here  to  see 
your  mother. 

JOE.    But  I'd  like  to  talk  to  you  first,  please. 

TILLINGER.  They  ain't  nothin'  I  want  to  say  to 
you. 

JOE.  I  suppose  not — but  I  know  what  you've 
come  for  and  my  mother  wants  me  to  attend  to  it 
for  her. 

TILLINGER.    Oh ! 

JOE.  She's  told  me  how  good  you've  been  to  her, 
Mr.  Tillinger. 

TILLINGER.     (More  tolerantly)     She  has,  eh? 

JOE.  Oh,  yes.  I  was  just  going  over  to  see  you — 
but  you  got  here  first.  Won't  you  sit  down,  Mr. 
Tillinger?  (After  another  look  at  JOE  he  goes 
and  sits  slowly  at  L.  of  table) 

TILLINGER.  (Pauses  and  eyes  JOE  shrewdly) 
Then  you  understand  our  agreement,  do  you  ? 

JOE.  (Very  pleasantly)  Well,  I'd  like  to  hear  it 
from  you — to  make  sure  I  got  it  straight.  (JoE 
smiles  at  him) 

TILLINGER.  This  farm's  too  much  for  her — needs 
a  lot  of  tending  to — and  money  to  keep  it  going,  an' 
she's  been  gettin'  further  an'  further  behind  right 


72  TURN  TO  THE  RIGHT. 

along.  I've  worried  about  her  quite  a  bit.  Now 
she  can  manage  first  rate  in  a  small  place — what 
with  doing  odd  jobs  around  an'  finding  a  place  for 
Betty  to  work — an'  perhaps  you  helpin'  out  again 
like  you  used  to. 

JOE.    I  see. 

TILLINGER.  Well,  I'm  givin'  your  Maw  the  Jones 
place  and  five  hundred  dollars  for  her  equity — 
that's  the  agreement — (Rises,  glances  at  JOE,  who 
is  still  smiling,  then  takes  large  envelope  from  inside 
pocket,  removes  rubber  band  and  takes  out  papers 
one  at  a  time,  speaking  as  he  does  so)  Here's  a 
receipt  to  date  for  your  Maw's  bill.  Here's  my 
cheque  to  make  up  the  five  hundred,  and  here's  a 
deed  to  the  Jones  property,  all  free  and  clear,  and 
this  is  the  deed  for  your  Maw  to  sign.  (Hands  the 
deed  to  JOE,  picks  up  the  other  papers  and  puts 
them  in  his  envelope,  leaving  the  receipt  on  the 
table) 

JOE.  Mr.  Tillinger,  we'd  rather  hold  onto  this 
place  a  while  longer. 

TILLINGER.  What?  (Takes  deed  from  JOE. 
JOE  still  smiles  at  him)  It's  too  late  for  that  now. 

JOE.    Why  is  it  too  late  ? 

TILLINGER.  (Hard  mean  tone)  Because  the 
bargain's  all  been  made  and  agreed  to  and  only  this 
afternoon  I  arranged  to  turn  this  place  over  to — 
to  a  party  from  New  York. 

JOE.  (Struggling  to  be  pleasant)  But  how  could 
you  do  that  ?  My  mother  hasn't  signed  anything  yet, 
has  she? 

TILLINGER.  Oh,  so  that's  it — you  think  you  can 
hold  me  up  ? 

JOE.    Not  at  all— I 

TILLINGER.  Well,  you'll  find  you  can't — The 
terms  has  all  been  settled  and  your  mother's  took 
one  hundred  and  twenty-five  dollars  to  bind  the 
bargain. 

JOE.    What!    Oh,  you  mean  your  bill? 


TURN  TO  THE  RIGHT.  73 

TILLWGER.  Yes,  I  charged  it  off  and  here's  the 
receipt. 

JOE.    Suppose  I  pay  it  ?    (Putting  hand  in  pocket) 

TILLINGER.     (Eyeing  him)    Can  yer  pay  it? 

JOE.    I  say  suppose — (Laughing) 

TILLINGER.  No  supposin'  about  it.  I  say.  can 
yer?  I  know  yer  can't.  Then  there's  the  taxes 
past  due  and  the  interest — over  six  hundred  dollars 
it  amounts  to. 

JOE.    We  got  the  peach  crop. 

TILLINGER.  You  try  to  sell  it.  Peaches  ain't 
worth  counterfeit  money  this  year. 

JOE.  (Trying  desperately  to  keep  his  temper) 
But  listen,  Mr.  Tillinger — you  made  this  bargain 
to  do  my  mother  a  favor,  because  she  and  Betty 
were  alone  here — I'm  back  now  and  I  want  to  stay 
and  look  out  for  them  and  try  my  hand  at  running 
the  place. 

TILLINGER.  You  run  it !  I  know  you — you  can't 
run  nothin' — an'  your  Maw'd  be  a  good  sight  better 
off  without  you  than  with  you. 

JOE.  Perhaps  that  ain't  a  bad  guess,  but  just  the 
same  I  am  goin'  to  try  it. 

TILLINGER.  No  you  ain't — this  farm  is  mine  and 
I  don't  want  to  multiply  words  with  you. 

JOE.  (Going  close  to  him)  Well,  get  this  any 
how — you're  a  dirty  crook  (Muccs  enters  from 
porch  door)  and  you're  tryin'  to  rob  my  mother  of 
this  farm.  But  you  ain't  never  goin'  to  get  away 
with  it — I'll  see  you  in  hell  first. 

(TILLINGER  backs  away  from  JOE  to  L.  of  table.) 

TILLINGER.    You  young 

(MUGGS  closes  door  loudly.) 

JOE.  Come  in,  Mr.  McCarthy.  ( MUGGS  com** 
down  L.  c.  JOE  sudden  thought)  Were  you  abb 


74 


TURN  TO  THE  RIGHT. 


to  see  the  peaches  in  the  moonlight?    (Signals  to 

MUGGS) 

MUGGS.  (Surprised,  looks  front  then  back  at 
JOE)  Sure. 

JOE.    Ever  see  anything  like  'em? 

MUGGS.  (Looking  from  TILLINGER  to  JOE) 
They're  aces,  kid — they're  aces. 

JOE.  Well,  my  offer  goes — you  can  have  the  whole 
crop  on  the  trees,  just  as  they  are  now,  for  eight 
hundred  dollars. 

MUGGS.  (Looks  front,  then  back  to  JOE)  Eight 
hundred  ? 

JOE.    Eight  hundred. 

MUGGS.    (Thinks)    You're  on!  ^ 

JOE.    Can  you  give  me  a  check  in  the  morning? 

MUGGS.    Sure !    Give  it  to  you  any  time. 

(GiLLY  enters  porch  door,  comes  down  L.  c.   to 

MUGGS  and  shows  him  the  roll  he  has  taken 

from  TILLINGER'S  safe.     MUGGS  motions  him 

to  go  around  back  and  give  it  to  JOE.    JOE  is  R. 

of  table  c.,  TILLINGER  L.  and  MUGGS  L.  c.) 

TILLINGER.    If  you're  sayin'  this  fer  me,  I'll  tell 

you  it  don't  fool  me  at  all.    I  made  this  bargain  fair 

an'  square  and  this  receipt  binds  it — and  if  you 

think  you  can  fight  me — you'll  find  your  answer  in 

court. 

GILLY.  (Holding  out  hand  to  JOE)  How  are 
you,  Mr.  Bascom  ?  Glad  to  see  you  again. 

JOE.  How'd  do,  Mr.  Gilbert?  Your  partner  has 
just — (  GILLY  shakes  hands  effusively  with  JOE.  JOE 
stops  speaking,  gives  a  look  of  great  surprise  as  they 
shake  hands.  GILLY  has  given  him  the  one  hundred 
and  twenty- five  dollars)  Won't  you  sit  down,  Mr. 
Gilbert? 

GILLY.    Sure!     (Sits  R.  of  table) 

(JoE  turns  down  R.  and  counts  roll  of  bills  GILLY  has 
left  in  his  hands  then  suddenly  looks  front. 
GILLY  looks  at  TILLINGER  and  smiles.) 


TURN  TO  THE  RIGHT.  75 

TILLINGER.  Ugh !  (He  starts  toward  porch  door 
angrily) 

JOE.  (Goes  to  c.  of  table)  Wait  a  minute.  I 
want  these  gentlemen  for  witnesses.  This  man  is 
tryin*  to  rob  my  mother  of  her  farm  an*  he  is 
gpin*  to  try  a  flim-flam  about  some  money  she  owes 
him  to  do  it.  (He  takes  the  receipt  from  the  table) 
He  has  just  presented  this  bill  and  I  want  you  fellows 
to  be  able  to  testify  that  I  offered  to  pay  it.  (He 
takes  out  roll  of  bills  which  he  puts  in  his  pocket, 
counts  them — two  fifties,  a  twenty  and  a  five.  Puts 
roll  on  table  and  picks  up  receipt)  I've  got  the 
receipt  and  there's  your  money. 

'(TILLINGER  looks  at  money  in  great  surprise,  turns 
as  if  to  go  out — thinks — changes  his  mind, 
comes  back  to  table,  picks  up  money,  counts  it— 
puts  it  in  his  vest  pocket.  Backing  up  to  D.) 

MUGGS.  (Going  up  to  him)  Now  you  blow- 
see! 

(The  church  bell  begins  ringing  and  continues  until 
end  of  act.) 

TILLINGER.    What's  that? 

MUGGS.  Blow !  Get  out  o'  here,  or  I'll  bust  you 
in  the  snoot. 

•  TILLINGER.  Don't  you  talk  to  me  like  that,  I'll 
have  the  law  on  you. 

MUGGS.  Mr.  Gilbert,  will  you  kindly  open  the 
door. 

(GiLLY  crosses  below  MUGGS  and  TILLINGER  and 
opens  porch  door.  MUGGS  suddenly  grabs 
TILLINGER  and  pushes  him  out.  MUGGS  goes 
out  with  him,  is  heard  throwing  him  off  the 
porch,  both  talking  ad.  lib.  The  church  bell  be- 
porch,  both  talking  ad  lib.  GILLY  closes  door.) 


76  TURN  TO  THE  RIGHT. 

JOE.  (Crossing  to  GILLY  L.  c.)  Gilly,  where  did 
you  get  that  roll  ?  Where  did  you  dig  it  up  ? 

GILLY.  That  guy's  got  his  own  money.  I  copped 
it  out  of  his  safe. 

(MUGGS  re-enters,  arranging  his  coat.) 

JOE.    Good  Lord !    How  much  did  you  take  ? 

GILLY.  There  was  a  big  roll  there  but  I  only 
took  a  hundred  and  twenty-five. 

JOE.  (Sitting  L.  of  table)  Oh,  Lord!  They'll 
find  it  missing  in  the  morning. 

MUGGS.  No  they  won't.  After  church  Gilly  can 
put  it  back  just  as  easy  as  he  got  it. 

JOE.    What? 

MUGGS.  What  do  you  suppose  I  rough-housed 
him  for?  Here's  your  dough,  kid.  (Shows  money 
to  JOE  then  hands  roll  to  GILLY) 

MRS.  BASCOM.    (Enters  L.)    Ready  boys? 

(JoE  rises,  goes  to  front  of  table.    GILLY  to  L.  of  T. 
MUGGS  back  of  T.    JESSIE  and  BETTY  enter  from 

$orch.  MUGGS  signals  GILLY  to  go  with  JESSIE. 
ESSIE  and  GILLY  exit  through  porch  door. 
MUGGS  and  BETTY  follow  them,  smiling  and 
chatting.  MRS.  BASCOM  goes  to  JOE,  sees  receipt 
on  table  and  takes  it  up,  looks  up  into  JOE'S  face, 
smiles.  JOE,  ashamed  of  the  thought  of  how  the 
bill  was  paid,  takes  her  arm.  She  nestles  close 
to  him — they  follow  the  others  out.  The  church 
bell  is  still  ringing.) 

CURTAIN. 


TURN  TO  THE  RIGHT.  77 

ACT  II. 

SCENE:— -The  BASCOM'S  back  yard. 
TIME: — 10  a.  m.  the  following  day. 

At  R.  is  the  kitchen  door  of  the  farm  house, 
with  a  small  portico  over;  above  the  door  is  a 
window;  under  the  window — cellar  steps.  A 
path  supposedly  running  from  the  road,  is 
shown  below  the  house.  There  is  another 
entrance  above  the  house. 

On  the  L.  side  the  beginning  of  the  peach 
orchard  is  seen.  A  number  of  peach  trees 
filled  with  fruit,  arranged  as  if  the  orchard  ran 
off  to  the  L. 

At  c.  is  an  old  well,  with  curb  around  it. 

The  back  drop  shows  a  farming  country,  with 
the  Hudson  River  in  the  distance. 

Up  R.  c.,  apparently  %  mile  from  the  house, 
is  seen  a  small  hill  on  which  stands  several 
maple  trees. 

AT  RISE: — The  stage  is  empty.  When  the  curtain 
is  well  up  MRS.  BASCOM  enters  from  kitchen 
door,  she  is  evidently  looking  for  something, 
searches  along  house,  by  the  door  sill  and  down 
cellar  steps.  BETTY  enters  from  above  the 
house.  She  watches  MRS.  BASCOM  for  a  mo- 
ment  before  MRS.  BASCOM  is  aware  of  her 
presence.  Finally  MRS.  BASCOM  looks  up  and 
discovers  BETTY.  BETTY  looks  at  her  anxiously; 
MRS.  BASCOM  smiles  reassuringly. 

BETTY.  (At  R.  u.  E.)  You  ain't  found  it,  have 
you  Maw  ? 

MRS.  BASCOM.  No,  not  a  sign  of  it.  (She  looks 
'off  side  of  house) 


78  TURN  TO  THE  RIGHT. 

BETTY.  Well,  I've  looked  all  along  from  our 
porch  clear  to  Deacon  Tillinger's  front  door !  (She 
indicates  path  below  the  house)  Hunted  on  one 
side  of  the  road  goin'  over,  and  the  other  side  comin' 
back. 

MRS.  BASCOM.  (Crosses  to  L.  of  well)  Well,  it 
ain't  in  the  kitchen,  that's  certain,  and  the  Deacon 
says  that's  the  only  room  he  was  in.  Well,  it's  gone 
and  'tain't  no  use  looking  any  more. 

(BETTY  gets  basket  of  filled  preserve  jars  standing 
near  door;  a  little  bundle  of  labels  and  saucer 
of  water  with  small  sponge;  she  carries  them 
to  the  well.  MRS.  BASCOM  continues  search. 
BETTY  suddenly  looks  up  at  her.) 

BETTY.  Ma !  Pm  glad  he  lost  the  money.  (Put 
ting  basket  on  well  curb  and  sits.  MRS.  BASCOM 
turns  with  surprise.  BETTY  puts  saucer  and  labels 
on  well)  I  don't  care,  I  am.  I  hate  him,  Ma,  I 
just  hate  him. 

MRS.  BASCOM.    (Goes  to  her)    Why,  Betty! 

BETTY.  I  heard  what  he  said  to  you  when  he  was 
here  this  tnornin'.  He  was  too  mean  for  anythin*. 
(Turns  front)  The  idea  of  saying  this  place  was 
his. 

MRS.  BASCOM.  But  it  is,  Betty.  (BETTY  turns 
to  mother)  I  agreed  to  sell  it  to  him. 

BETTY.  Why,  Ma,  Joe  told  us  last  night  it  was  all 
right  as  long  as  you  hadn't  signed  any  papers. 

MRS.  BASCOM.  (Shaking  her  head)  I  gave  the 
Deacon  my  word,  Betty — (BETTY  turns  front)  but 
he  doesn't  want  to  take  the  place — (BETTY  looks  at 
her)  only  before  Joe  came  home  the  Deacon  sold 
the  orchard  to  some  man  in  New  York,  but  he's 
sent  for  the  man  to  come  here  to  see  me,  an'  he  is 
goin'  to  ask  him  not  to  take  it.  (Looks  under  trees 
L.  u.) 

BETTY.     (Commences  work.    Takes  out  ist  jar. 


TURN  TO  THE  RIGHT.  79 

Then  she  bursts  out  again)  But  I  can't  forget  the 
way  he  acted  about  losing  the  money  Joe  paid  him — 
He  almost  accused  the  boys  of  robbing  him.  (MRS. 
BASCOM  looks  at  her)  And  he  said  he  didn't  believe 
they  bought  the  peaches  and  he  was  goin'  to  look 
them  up  right  away.  (Puts  on  label) 

MRS.  BASCOM.  (Crosses  at  back)  He'll  be  sorry 
that  he  talked  so,  when  he  thinks  it  over. 

BETTY.  (Looking  front)  It  is  curious  to  have 
two  New  York  business  men — (MRS.  BASCOM  looks 
front)  out  in  our  orchard,  picking  peaches. 

MRS.  BASCOM.  (Comes  to  her,  R.  of  w.)  That's 
because  Mr.  Gilbert's  doctor  ordered  him  to  take 
exercise. 

BETTY.  (Suddenly  remembering)  Oh,  yes!  Mr. 
Gilbert  had  to  go  out  an'  exercise  last  night  right 
after  supper — (Putting  jar  in  basket,  takes  out  2nd. 
MRS.  BASCOM  goes  up  back  still  hunting)  they're 
workin'  awful  hard,  and  they've  got  about  all  the 
kids  in  town  pickin'.  (Looking  at  her)  Don't  you 
like  Mr.  McCarthy,  Ma? 

MRS.  BASCOM.  They're  both  splendid  boys.  (Still 
hunting) 

BETTY.  But  Mr.  McCarthy's — well,  he's  so  funny 
— and  he's  got  the  nicest  smile!  Let  Deacon  Til- 
linger  look  them  up.  I  ain't  afraid  (Pause)  are 
you? 

MRS.  BASCOM.  (Goes  to  BETTY)  Now  Betty — 
do  stop  worryin' !  Just  think,  Joe's  home !  Deacon 
Tillinger's  bill's  paid — The  peach  crop's  sold — and 
we're  all  well !  Why  we  ought  to  be  so  busy  bein* 
happy — there  ain't  time  for  anythin'  else — Except 
the  house  work — (She  goes  busily  to  kitchen  door) 

BETTY.  (Putting  on  label)  I  am  happy,  Ma! 
I'm  always  happy  after  you  talk  to  me. 

(MRS.  BASCOM  smiles  at  her  and  exits.  JESSIE 
enters  above  house.  She  has  a  child's  wagon, 
which  she  pushes  to  entrance  below  house.  She 


8o  TURN  TO  THE  RIGHT. 

is  dressed  prettily  and  shows  she  has  done  every* 
thing  possible  to  look  her  best.) 

JESSIE.    (As  she  sees  BETTY)    Hello  ! 

BETTY.    (Looking  up)    Oh,  hello,  Jessie! 

JESSIE.  (Pushes  wagon  to  entrance)  Company 
gone? 

BETTY.  (Looking  at  her  and  smiling)  No^ 
they're  in  the  orchard. 

JESSIE.  (Goes  to  BETTY,  snickers)  Everybody's 
wonderin*  why  in  the  world  they  bought  the  peach 
crop  - 

BETTY.  Well,  I  guess  everybody'll  find  out  soon 
enough.  Did  you  bring  the  wagon  so  that  you  could 
help  them  ? 

JESSIE.  Ma  sent  me  over  to  see  if  they'd  sell  her 
two  baskets. 


(BETTY  puts  2nd  jar  in   basket,   takes  out 

MUGGS  heard  off  L.  singing,  "  Shall  we  gather  at 
the  River?"  the  lumty  te-tumty  te-lum  te-tum 
te-River  "  —  "Shall  we  -  He  enters,  pushing 
wheel-barrow  filled  with  baskets  of  peaches. 
Stops  singing  as  he  sees  the  girls,  puts  down 
wheel-barrow,  takes  off  his  hat.) 

JESSIE.    (Coquettishly)    Good-mornin*. 
(BETTY  puts  label  on  $rd  jar.) 

MUGGS.  Is  it  morning  yet?  (Going  to  cellar  with 
wheel-barrow)  Seems  as  if  I'd  been  up  a  week! 
(Throws  hat  in  basket  at  cellar) 

BETTY.    Jessie  wants  to  buy  some  peaches. 

MUGGS.    (Front  of  w.  B.)    Sure! 

BETTY.  I  guess  she'd  rather  see  Mr.  Gilbert  about 
it 

JESSIE.  (Laughing  —  starting  towards  L.)  He's 
in  the  orchard,  ain't  he? 


TURN  TO  THE  RIGHT.  81 

MUGGS.  Oh,  he's  there  all  right— just  fell  out  o| 
a  tree 

(JESSIE  stops  suddenly,  groans.) 

BETTY.    Goodness ! 

MUGGS.    Landed  plumb  on  his  bean. 

JESSIE.    Was  he  hurt? 

MUGGS.    Well,  he's  shook  up  a  little. 

JESSIE.  I'll  go  and  see  how  he  is.  (She  exits  L.  u., 
Tunning) 

BETTY.    He  ain't  hurt  bad.  is  he  ? 

MUGGS.  (Stands  L.  of  w.  B.)  Oh,  he'll  be  all 
right.  That  kind  of  exercise  is  good  for  him. 
(Starts  to  unload  peaches;  placing  them  at  cellar 
door.  Takes  first  and  second  basket  from  L.  of 
w.  B.) 

BETTY.  (Laughs,  then  looking  at  the  peaches) 
How  are  you  getting  along  with  the  peaches? 

MUGGS.  Oh,  fine,  (Putting  ist  basket  down)  but 
there's  a  terrible  lot  of  'em. 

BETTY.  (Put  $rd  jar  in  basket,  takes  out  qth) 
I  hope  you'll  be  able  to  sell  'em ! 

MUGGS.    So  do  I.     (Second  basket) 

BETTY.  But  you  knew  you  could  when  you  bought 
them,  didn't  you  ? 

MUGGS.     (Putting  2nd  basket  down)     Oh,  sure! 

BETTY.  Deacon  Tillinger  said  no  one  would  buy 
them  this  year.  (Ptits  label  on  4th) 

MUGGS.  (Looks  at  her,  is  R.  of  w.  B.)  Have 
you — have  you  seen  the  Deacon  this  morning? 
(Takes  up  third  basket) 

BETTY.  He  was  here  a  little  while  ago.  (Looks  at 
MUGGS)  Did  you  want  to  see  him? 

MUGGS.  (Puts  third  basket  down)  Oh,  no,  I 
ain't  particular  about  it! 

BETTY.  (Looking  at  MUGGS)  He  lost  all  the 
money  Joe  paid  him  last  night. 

MUGGS.     (Turning  to  her  in  pretended 


8s  TURN  TO  THE  RIGHT. 

went)  Lost  it,  eh!  Oh,  that's  too  bad!  (BETTY 
puts  4th  jar  in  basket  takes  out  $th.  Trying  to  speak 
casually  and  going  toward  BETTY)  Did  the  Deacon 
see  Joe? 

BETTY.    No,  Joe  hasn't  come  back  yet. 

MUGGS.    Oh ! 

BETTY.    He  went  out  before  daylight. 

MUGGS.    Yes  ? 

BETTY.    Ma  said  he  hired  Mr.  Tuttle's  wagon. 

MUGGS.    Yes  ? 

BETTY.    Do  you  know  why  ? 

MUGGS.    Perhaps  he  went  for  his  trunk. 

BETTY.  Perhaps.  He  didn't  bring  a  thing  with 
him. 

MUGGS.  We  didn't  either.  (BETTY  puts  label  on 
$th  jar)  Those — you  know — those  things  we  found 
on  the  bed  last  night,  Gee,  they  were  immense ! 

BETTY.  (Laughing)  They  were  two  of  Uncle 
George's  night  gowns.  (Puts  $th  jar  in  basket  takes 
out  6th.  MUGGS  taking  last  peach  basket  from 
wheel  barrow,  begins  singing  "Shall  we  gather  at 
the  River."  BETTY  putting  label  on  6th)  We  sang 
that  at  meetin'  last  night. 

MUGGS.  Yeh! — It's  a  new  one  on  me — (Places 
w.  B.  near  BETTY)  I  know  "  The  Swanee  River  " 
and  "  On  the  Banks  of  the  Wabash."  (BETTY  puts 
6th  jar  in  basket  also  labels  saucer,  etc.)  I  like 
river  songs.  (Sits  in  w.  B.)  Your  mother  knows 
all  them  prayers  and  songs  by  heart,  don't  she? 

BETTY.  Oh,  yes.  (Looking  at  MUGGS)  They 
mean  everything  to  her.  Why,  whenever  she's 
worried  she  just  reads  the  Bible  awhile — and  then 
all  her  trouble  goes  and  she's  happy  again. 

MUGGS.    You  don't  say! 

BETTY.  Yes,  because  she  says  it  makes  her  be 
lieve. 

MUGGS.    Makes  her  believe? 

BETTY.  Believe  everythin*  is  goin*  to  be  all  right, 
and  then  it  is. 


TURN  TO  THE  RIGHT.  83 

MUGGS.    (Impressed)    What  d'ye  think  of  that? 

BETTY.  Why  all  the  time  Joe  was  away,  somehow 
she  knew  he  was  comin'  back — even  when  everybody 
else  thought  he  was  dead — and  last  night  he  walked 
in  just  while  she  was  prayin'  for  him  to  come. 

MUGGS.    (Looking  at  her)    No ! 

BETTY.    Honest ! 

MUGGS.  (Somewhat  awed)  That's  some  system, 
if  it  works. 

BETTY.    It  always  does  with  her. 

MUGGS.    Can  you  believe  things  that  way? 

BETTY.  I  try  to — but  I  ain't  so  good  at  it  as  Ma 
is.  Have  you  ever  tried  it  ? 

MUGGS.  (Rising,  shaking  his  head)  I  ain't 
never  heard  of  it — (Then  earnestly  and  in  a  low 
tone,  going  closer  to  her)  But  it  sounds  great  the 
way  you  tell  it. 

'(They  have  stopped  work  and  are  looking  earnestly 
at  each  other.  JESSIE  and  GILLY  enter  from 
orchard.  Talking  as  they  enter.) 

JESSIE.    If  I  was  you  I'd  see  a  doctor  about  it. 

GILLY.  Oh,  it  ain't  bad  enough  for  that.  (Dur 
ing  the  above  MUGGS  starts  to  exit  with  wheel 
barrow — going  back  of  well  where  he  leaves  the 
wheel-barrow.  BETTY  rises,  takes  basket  of  jars, 
labels,  etc.,  exits  to  kitcehn.  GILLY  suddenly  aware 
that  they  have  reached  the  house)  She  bought  some 
peaches.  (Crosses  to  cellar  door.  To  JESSIE,  in 
dicating  baskets  MUGGS  has  brought)  Will  two  of 
these  be  all  right  ? 

JESSIE.    (Crosses  to  him)    Yes,  splendid ! 

MUGGS.  (R.  of  well)  Say!  Why  didn't  you 
bring  two  up  from  the  orchard  ? 

JESSIE.  (R.  of  MUGGS)  Because  I  wouldn't  let 
him  carry  them,  not  with  his  lame  back. 

MUGGS.  Why  didn't  you  do  it  with  your  hands? 
'(MRS.  BASCOM  enters  from  kitchen,  with  watering- 
pot.  Crosses  to  L.  of  w.)  Good-morning,  Jessie ! 


84  TURN  TO  THE  RIGHT. 

JESSIE.  How  de  do!  Mr.  Gilbert  fell  out  of  a 
tree  and  hurt  himself  real  bad,  Mrs.  Bascom. 
There's  a  big  bump  right  there.  (She  indicates  place 
between  GILLY'S  shoulder  blades) 

(BETTY  enters  from  kitchen  stays  on  porch.    GILLY 
crosses  to  L.  of  JESSIE.) 

MRS.  BASCOM.  (Crossing  to  him  quickly,  leaving 
watering  pot  back  of  well)  Let  me  see ! 

GILLY.    Oh,  it  ain't  nothing,  thank  you,  Ma'am. 

MRS.  BASCOM.  (Inspecting  it  tenderly)  Why, 
it's  quite  a  bruise. 

'(GiLLY  tries  to  turn  his  head  and  it  hurts — he 
winces.  MRS.  BASCOM  exits  quickly  into 
kitchen.) 

JESSIE.  Will  you  put  those  two  on  the  wagon  for 
me,  Mr.  McCarthy?  (Indicating  two  baskets  of 
'peaches) 

MUGGS.  (BETTY  places  wagon  for  him)  Sure! 
\He  does  so) 

GILLY.  (To  JESSIE,  smiling  at  her)  Say!  We 
don't  want  to  take  this  money.  (Holds  out  money 
'to  her,  three  half  dollars) 

JESSIE.  (Goes  to  him)  Oh,  yes,  Ma  wouldn't  let 
me  accept  them  for  nothing. 

GILLY.    Aw,  take  some  of  it  back,  won't  you? 

JESSIE.  No  seventy-five  cents  a  basket  is  cheap 
enough.  (Goes  to  wagon) 

MUGGS.    Can't  I  take  this  home  for  you? 

GILLY.    (Quickly)    I'll  do  that! 

MUGGS.    Oh,  no,  not  with  your  lame  back. 

'(MRS.  BASCOM  enters  from  kitchen  door,  with  small 
tray  on  which  is  cup  of  hot  water,  scrap  of  soft 
cloth  and  bottle  of  liniment.  Goes  to  well.) 

JESSIE.    I  don't  need  any  help,  thanks. 


TURN  TO  THE  RIGHT.  85 

(MuGGS  exits  into  orchard,  pushing  wheel-barrow. 
Singing — "  Shall  zve  gather  at  the  River.") 

BETTY.  (To  MRS.  BASCOM)  I'm  just  going  to 
help  Jessie  home  with  these  peaches,  Ma ! 

MRS.  BASCOM.  All  right,  dear.  (Girls  exit  to 
gether  above  house,  drawing  cart  after  them.  GILLY 
follows  them  up  R.  c.)  Now  you  jest  sit  down  over 
here,  Mr.  Gilbert. 

GILLY.  (As  he  goes  to  well)  I — I  don't  want  to 
make  you  no  trouble,  Ma'am — I'm  all  right. 

MRS.  BASCOM.  (Gently  forcing  GILLY  to  sit) 
Oh,  you'll  be  real  lame  to-morrow  if  it  ain't  attended 
to.  ( Unbuttons  collar  of  shirt.  She  bathes  bruise — 
'carefully  and  tenderly.  As  she  finishes  the  bathing) 
There! 

GILLY.  (Looking  up  at  her)  Thank  you,  Ma'am 
^•(Starts  to  rise  and  button  his  shirt,  MRS.  BASCOM 
puts  hand  on  his  shoulder) 

MRS.  BASCOM.  (Cheerily)  Oh,  I  ain't  started 
yet!  (She  opens  bottle  of  liniment— pours  some 
into  palm  of  her  hand.  GILLY  watches  her.  MRS. 
BASCOM  smiles  at  him  and  he  smiles  sheepishly) 
Now — this  may  smart  a  little 

GILLY.  Oh— I  don't  care  about  that.  It's  makin' 
you  all  this  trouble  I  don't  like. 

MRS.  BASCOM.  Why,  bless  you,  it  ain't  a  bit  of 
trouble.  (Pause  as  MRS.  BASCOM  works.  Applying 
liniment  and  rubbing  it  in  skillfully  )  That  ain't  bad, 
is  it? 

GILLY.    No,  Ma'am. 

MRS.  BASCOM.  (Starts  rubbing  his  neck.  GILLY 
looking  front)  It  would  be  a  shame  for  you  to  get 
hurt  while  you  and  Mr.  McCarthy  are  doing  so  much 
for  us 

GILLY.    I— I  wish  I  could  do  somethm . 

MRS.  BASCOM.  Land  sakes!— Don't  you  call  ty 
somethin'  to  buy  the  peach  crop — when  we  didn't 
think  it  would  bring  a  penny?  Why,  Betty  and 


86  TURN  TO  THE  RIGHT. 

me  hardly  knew  which  way  to  turn  before  Joe  came 
home — (Comes  R.  of  GILLY — Rubs  neck  with  L. 
hand)  and  then  to  have  you  boys  come  along  and 
buy  the  peaches.  ( GILLY  looks  down  ashamed) 
Well,  as  I  said  to  Betty,  it  was  the  Lord  himself 
that  sent  you  here. 

GILLY.  (Thinks  over  what  she  has  said,  looks 
front)  I  guess  He  ain't  never  sent  us  nowhere. 

MRS.  BASCOM.  Oh,  yes,  he  has — (Stops  work. 
Smiling  as  he  is  looking  at  her.  GILLY  slowly  looks 
up  at  her,  realizes  it's  useless  to  contradict  her) 
He  sends  you  every  where  you  go.  ( GILLY  looks 
front.  MRS.  BASCOM  buttons  his  shirt  collar) 
There!  Now  I  guess  you'll  feel  different.  (Picks 
up  tray,  etc.) 

GILLY.  (Rising)  I  feel  different  now  than  I 
ever  did  before.  I — (Looking  at  her)  I  ain't  used 
to  bavin'  nobody  take  care  of  me  much. 

MRS.  BASCOM.  Oh,  nonsense — If  you  was  home 
your  Maw'd  do  the  same  thing. 

GILLY.  (Shaking  his  head)  No,  Ma'am — I — I 
ain't  got  no — family.  (Turns  front) 

MRS.  BASCOM.  (Sympathetically)  Oh!  (Then 
brightly.  Hand  on  his  shoulder)  Well,  she's  watch- 
is*  and  lovin'  you  just  the  same  as  if  she  was  here. 
(GiLLY  looks  at  her  hand  on  his  shoulder f  then  turns 
to  her.  MRS.  BASCOM  suddenly  kissing  him  on  the 
forehead)  There ! — that's  for  your  Maw.  (Crosses 
to  kitchen  door)  Now  I  must  see  about  dinner. 
(MUGGS  enters  with  another  load  of  peaches,  comes 
around  back  of  well  to  steps  of  porch)  Mr.  Mc 
Carthy,  you'll  see  that  Mr.  Gilbert  don't  do  any  heavy 
lifting  to-day,  won't  you  ? 

MUGGS.  (R.  c.)  Yas,  Ma'am.  (Leaves  w.  B.  at 
steps.  MRS.  BASCOM  smiles  at  them  and  exits  into 
house.  GILLY  stands  motionless — lost  in  thought. 
Goes  to  GILLY)  Say  what's  the  matter? 

GILLY.  (Very  earnestly)  I  got  to  get  out  of 
here,  Muggs.  I  can't  lie  to  that  old  lady.  There's 


TURN  TO  THE  RIGHT.  8fc 

^something  all  wrong  with  me.  I'm  off  my  nut  I 
iguess 

MUGGS.    I  know  what  you  mean.    I  got  it  too. 

GILLY.    What! 

MUGGS.  Say,  when  I  woke  up  this  mornin*  I 
i  couldn't  think  of  nothin*  but  wishin'  I  was  on  the 
'•fevel,  and  the  more  I  get  sore  at  myself  for  wishin', 
the  more  I  wishes  it. 

GILLY.  That's  me  too — (Pause)  I  wonder  if 
•  we're  goin'  to  die.  I  heard  that's  the  only  time  you 
feel  that  way 

MUGGS.  We  got  no  time  to  think  of  dying.  We 
;got  to  get  back  to  the  orchard — and  keep  up  the 
I  Bluff  that  we're  busy. 

GILLY.    Gee — I  hope  Joe  can  sell  the  peaches. 

MUGGS.  (Going  to  w.  B.)  He  went  out  before 
daylight  trying  to — (Seeing  girls  coming)  Sh! — • 
(Turns  wheel-barrow  up  R.  c.)  Well,  wire  him  that 
we  can't  let  him  have  more  than  a  hundred  baskets. 
How  many  did  we  promise  to  the  Boston  people? 
(Pretends  to  jest,  sees  BETTY  and  ELSIE.  MUGOS 
starts  unloading  peaches,  placing  them  up  R.  e.  at 
stone  wall)  Oh !  (Putting  ist  basket  down) 

BETTY.  Miss  Tillinger,  this  is  Mr.  McCarthy—^ 
and  Mr.  Gilbert. 

(The  boys  bow.) 

ELSIE.    How  do  you  do  ? 

MUGGS.    How  do  you  do 

BETTY.    (Goes  on  porch)    Is  Joe  home  yet? 

MUGGS.  Not  yet.  You  will  excuse  us,  we  are 
terrible  busy.  (Takes  2nd  basket) 

ELSIE.  (Talking  to  GILLY)  Your  buying  Mrs. 
Bascom's  peaches  has  given  the  village  quite  a  sur 
prise. 

MUGGS.  (Breaking  in.  Takes  up  yd  basket) 
No  more  than  it  did  us. 

ELSIE.    (Surprised)    What? 


88  TURN  TO  THE  RIGHT. 

MUGGS.  (Quickly.  Puts  yd  basket  down)  We 
happen  to  call  on  Joe — and  find  just  what  we'd  been 
lookin'  for.  Didn't  we  Dudley? 

GILLY.    Yes,  more  than  we  was  lookin'  for. 

ELSIE.  (To  GILLY.  MUGGS  puts  4th  basket  at 
wall)  I  thought  it  was  almost  impossible  to  sell 
peaches  this  year. 

MUGGS.  Oh,  no,  Ma'am — not  this  kind.  Now  we 
got  to  get  back  in  the  orchard.  (  MUGGS  starts  wheel 
barrow  to  L.  of  w.  GILLY  turns  to  follow  him  to 
orchard) 

BETTY.  (Going  to  R.  of  w.)  But,  Mr.  Gilbert, 
you  ought  not  to  go  in  the  orchard  any  more  to-day. 

MUGGS.  (Down  L.  of  GILLY)  Oh,  I'm  takin* 
care  of  him.  Don't  let  him  do  anythin'  but  sit  on 
the  grass  and  count  baskets.  Get  in,  Dudley! 
( MUGGS  help  GILLY  to  w.  B.,  very  carefully — GILLY 
sits  in  wheel-barrow)  Good-morning.  (  MUGGS 
wheels  GILLY  off  to  orchard.  Singing,  "Shall  we 
gather  at  the  River") 

ELSIE.    Was  he  hurt  seriously  ? 

BETTY.  Oh,  no,  I  don't  think  so.  Ma  war  Poking 
after  him. 

ELSIE.    Is  she  in  the  house  ? 

BETTY.    Yes. 

ELSIE.  (Going  to  door)  I  want  to  ask  her  about 
what  father  said.  Oh,  Betty,  if  we  could  only  find 
the  money.  (She  exits  into  house) 

(BETTY  starts  toward  orchard.  JOE  enters  quickly 
above  house,  carrying  several  empty  peach 
baskets  and  a  preserve  basket — leaves  them  at 
back,  sees  peaches.) 

BETTY.  (Turning  and  seeing  him)  Oh,  hello. 
(Goes  toward  JOE) 

JOE.  (Indicating  peaches  the  boys  have  brought 
in)  Hello,  dear.  What's  all  this? 

BETTY.    The  boys  are  workin'  in  the  orchard. 


TURN  TO  THE  RIGHT.  89 

JOE.    Oh !     (Starts  for  orchard) 

BETTY.  (Going  to  house,  calling)  Joe's  home, 
Maw.  Oh,  Joe !  I  can  tell  you  a  secret. 

JOE.    No  time  now,  sis. 

BETTY.  (Front  of  well)  It's  about  Elsie  TiU- 
inger.  (JoE  comes  gack  to  her  quickly)  She's  in 
love  with  you,  and  she  told  her  father  she'd  never 
marry  the  other  man.  Ana  I  think  it's  all  because 
you  came  home. 

(MRS.  BASCOM  enters  from  kitchen,  carrying  market 
basket.) 

JOE.    Sh! 

MRS.  BASCOM.  Joey,  where  have  you  been  all 
morning  ? 

JOE,     (Goes  to  her)    Doing  a  few  errands. 

MRS.  BASCOM.    Ain't  you  awful  tired? 

JOE.    No,  not  a  bit.    Are  you  going  out,  dear? 

MRS.  BASCOM.  I  want  to  catch  the  butcher's 
wagon.  It's  just  about  time  for  him  to  be  at  Miss 
Martin's. 

JOE.    Won't  he  come  here? 

BETTY.    We  ain't  had  him  for  ever  so  long. 

MRS.  BASCOM.    Betty! 

BETTY.  But  we  can  have  him  come  again  now, 
can't  we  Joe? 

JOE.  You  bet  we  can.  Here's  some  money! 
(JoE  hands  MRS.  BASCOM  $5  bill) 

MRS.  BASCOM.  Goodness,  Joey — I  don't  need  five 
dollars. 

JOE.    Yes  you  do — what's  five  dollars  ? 

(BETTY  crosses  at  back  to  door.) 

MRS.  BASCOM.  We  mustn't  be  wasteful  dear — 
just  because  we've  got  plenty.  (ELSIE  comes  to 
door — MRS.  BASCOM  smiles  at  her)  Shan't  be  a 
jiffy.  Time  you  were  making  the  beds,  Betty. 


90  TURN  TO  THE  RIGHT. 

BETTY.    Yes'm.    (She  starts  off) 

(BETTY  goes  into  house.    MRS.  BASCOM  exits  below 
house.) 

JOE.  Good- morning!  (ELSIE  goes  to  him,  he 
sees  her  worried  look)  Why,  what's  the  matter, 
Elsie? 

ELSIE.  Joe,  will  you  tell  me  what  happened  when 
father  was  here  last  night. 

JOE.  (After  a  pause)  Hasn't  he  told  you  about 
it? 

ELSIE.  I  couldn't  reason  with  him  at  all.  Joe — , 
these  men  who  are  here.  Do  you  know  them  well? 

TOE.    Very  well.    They're  my  two  best  friends. 

ELSIE.  Oh,  I'm  so  glad — I've  been  afraid  they 
were  getting  you  into  trouble,  serious  trouble. 

TOE.    Why? 

ELSIE.  Father  thinks  they  took  the  money  you 
paid  last  night. 

JOE.    I'm  going  to  see  your  father,  Elsie 

ELSIE.  He's  gone  out  of  town,  but  he  said  if  the 
men  were  here  when  he  came  back  he'd  turn  them 
over  to  the  Sheriff. 

JOE.  (Looks  L.,  then  back  to  ELSIE)  Well,  if 
there  is  any  trouble,  it  won't  do  to  have  you  seen 
here,  Elsie,  why  it  might  look  as  though 

ELSIE.  Joe,  if  I  can  do  anything  to  help  you 
(Crosses  above  JOE  to  well)  I  don't  care  how  it 
looks. 

JOE.  (Forgetting  everything  except  that  he  loves 
her)  Elsie! 

ELSIE.  Do  you — Do  you  remember  the  last  time 
we  were  here  ?  What  we  said  to  each  other  ? 

JOE.  Remember?  I'll  never  forget  it  (She 
smiles  at  him  and  looks  away  at  a  little  knoll  in  the 
distance,  up  R  c, — he  follows  her  look)  Are — are 
you  looking  at  our  hill  ? 

ELSIE.  Yes.  (She  nods  her  head,  still  turning 
away) 


TURN  TO  THE  RIGHT.  gi 

JOE.  Where  1  was  going  to  build  our  house— 
'(Turns  front)  the  times  I've  thought  of  it  since— 
and  of  all  the  plans  we  made 

ELSIE.    (Still  looking  at  it)    So  have  I 

JOE.     (Looking  front)    There's  no  house  there. 

ELSIE.  (Turning  to  him)  Perhaps  there  will  be 
— sometime 

JOE.  (Shakes  his  head)  Everything  has  changed 
now. 

ELSIE.  I  haven't  changed.  (As  JOE  looks  up) 
I'm  just  the  same  as  I  was  then  (Smiling)  Joe,  even 
if  I  have  got  on  a  different  dress. 

JOE.  (Goes  closer  to  her)  Elsie — I  care  more 
for  you  than  I  do  for  my  life — or  my  soul — But 
there  isn't  a  chance  in  the  world  I  can  ever  have 
you — even  if  you  were  willing.  You'd  be  throwing 
yourself  away.  Why,  I'm  nothing  (Turns  away) 
worse  than  nothing 

ELSIE.  It  doesn't  make  any  difference  to  me  be 
cause  you  say  you're  a  failure 

JOE.  It's  more  than  that,  Elsie  (Turns  to  her) 
Why,  I'm  not  fit  even  to  look  at  a  girl  like  you 

ELSIE.    I  don't  believe  it,  and  Joe  I — I  love  you. 

JOE.  Listen,  Elsie  you've  got  to  know  this  now 
(Turns  away)  I — I  was  in  Sing  Sing  prison  all  last 
year 

ELSIE.  (In  horror,  sinks  on  curb  of  well)  Joe! 
(She  gives  a  little  sob) 

JOE.  Yes — for  robbery!  (ELSIE  continues  to 
sob.  A  pause.  He  glances  at  her  and  speaks  again 
quietly)  Did  you  ever  know  why  I  ran  away  ?  (She 
shakes  her  head)  I  was  ordered  off  your  place; 
told  I'd  be  horsewhipped  if  I  ever  spoke  to  you  again. 
(Smiles  unhappily)  I  thought  I  could  make  a  for 
tune  in  the  city  and  come  back  and  get  you.  Well, 
in  no  time  I  had  a  job  at  a  race-track  and  I  was  get- 
tin'  along  a  little — but  the  pool  box  looked  so  much 
easier  than  workin' — I  won  the  first  four  bets  I 
made — but  after  a  while  I'd  get  so  excited  watchin* 


•52  TURN  TO  THE  RIGHT. 

a  close  finish — I'd  take  a  drink — that's  the  way  it 
started — and  that's  the  way  it  ended.  I'd  sober  up — • 
get  a  job — save  a  little.  And  then — But  it  wasn't 
long,  Elsie  before  I  realized  I'd  got  to  lose  you.  You 
was  growing  up  to  be  a  lady — goin'  to  be  sent  to  a 
swell  school  where  you'd  meet  fashionable  people, 
while  I  was — well,  horses  was  all  I  knew.  Last 
Spring — a  year  ago — I  had  a  big  run  of  luck — I 
turned  a  five  Dollar  note  into  a  roll  of  over  Two 
Thousand,  and  I  sent  my  mother  word  I  was  comin* 
home.  My  last  day  at  the  track,  I  get  the  biggest 
tip  I  ever  had — it's  a  dark  secret — it  opens  at  thirty 
to  one,  and  at  the  post  it's  down  to  five.  It  looks  like 
the  big  chance  of  my  life — I  put  my  last  nickel  on  it 
— I  stand  to  win  forty  Thousand — (ELSIE  looks  up 
to  him)  I  think  of — of  everything  I  can  do  with  it 
— from  what  I  find  out  about  the  horse,  he's  got  to 
fall  down  to  lose — and  that's  just  what  he  does.  I 
never  mind  losin'  much  before — but  that  one  got 
me.  (ELSIE  looks  down)  I'm  laughin'  an'  drinkin' 
with  everyone  I  meet,  but  inside  I'm  dyin'  thinking 
of  that  bank  roll — that's  the  last  I  remember — 
There's  a  two-year-old  named  "  Fire-Fly  "  (ELSIE 
looks  at  him)  in  one  of  the  stables,  that  I'm  dead 
in  love  with.  They  find  me  lying  in  his  stall — and 
I've  got  the  owner's  empty  pocket-book  that  had 
twenty-five  hundred  in  it  when  he  lost  it.  How  or 
why  I  took  it — or  what  became  of  the  money,  I  don't 
knew  to  this  day — (Turning  away) 

ELSIE.    Joe — poor  Joe 

JOE.  Please  don't  give  me  any  sympathy,  Elsie — 
I'm  not  worth  it 

ELSIE.  (Rises,  goes  to  him)  But,  Joe — I — I  love 
you.  (JoE  looks  wonderingly  at  her)  And  you 
never  did  anything  else  that  was  dishonest.  Did 
you? 

JOE.    Yes,  the  thing  last  night  was  dishonest. 

ELSIE.    With  father? 

JOE.    Yes — the  money  1  gave  your  father  came 


TURN  TO  THE  RIGHT.  93 

out  of  his  safe — he  only  had  it  a  minute — it  was 
taken  away  from  him  and  put  back  in  the  safe 
again. 

BETTY.  (Enters  from  house  with  dustpan  and 
broom,  empties  dust  into  basket  by  door)  Ma  ain't 
back  yet,  is  she?  (JOE  goes  up  R.  c.)  My!  Din- 
ner'll  be  awful  late.  It's  most  noon  now. 

ELSIE.    (Crosses  to  her)    Oh,  it  can't  be. 

BETTY.  I  jest  heard  the  1 1 : 40  comin'  in.  (Exits 
into  house) 

ELSIE.  They're  expecting  father  on  that  train,  if 
you  could  only  give  him  the  money — — 

JOE.  That's  what  I  wanted  to  do.  I've  been  out 
all  morning  trying  to  raise  it. 

ELSIE.    I've  got  some  money — I'll  lend  it  to  you. 

JOE.    Elsie,  I  couldn't  take  your  money. 

ELSIE.  (Suddenly)  Oh,  I  know  a  way,  Joe. 
Don't  worry  about  father,  it  will  be  all  right.  (Exit 
above  house) 

(MuGGS  and  GILLY  enter  from  orchard,  place  wheel' 
barrow  above  well.) 

MUGGS.  (Comes  R.  of  well.  GILLY  goes  L.  of 
it)  Gee,  I'm  glad  you're  back. 

JOE.    Why — what's  happened  ? 

MUGGS.  Wait  till  I  tell  you — We're  all  ready  to 
blow  this  morning,  when  we  find  out  that  nobody 
around  here  believes  we  bought  the  peaches,  so,  to 
make  a  bluff,  we  go  out  in  the  orchard  and  I  hire 
a  million  kids  to  help  pick  'em. 

JOE.    How  much  you  payin'  'em? 

MUGGS.  Don't  worry,  don't  worry.  I'm  payin' 
fem  in  peaches. 

JOE.  (Crosses  to  GILLY  L.  c.)  Tillinger  started 
that  story.  He's  told  the  whole  neighborhod  that  you 
two  are  crooks,  and  he's  comin'  round  with  the  big 
Sheriff. 

GILLY.  The  old  stiff!  After  me  goin'  to  the 
trouble  of  putt  in*  that  coin  back  in  the  safe. 


94  TURN  TO  THE  RIGHT. 

MUGGS.    (R.  c.)    What  luck  did  you  have? 

JOE.  (c.)  None — I  carted  20  baskets  to  Center- 
ville  and  went  to  every  market,  fruit  and  grocery 
store  in  the  town.  Say!  You  can't  give  peaches 
away 

MUGGS.    Did  you  have  to  bring 'em  back? 

JOE.  No,  I  sold  'em  from  house  to  house,  but  we 
can  never  get  rid  of  them  all  that  way. 

GILLY.  Then  your  mother'll  find  out  we've  been 
lyin'  to  her 

JOE.    Gilly,  she  mustn't  find  that  out. 

MUGGS.    How  can  we  help  it  ? 

JOE.  Well,  I've  got  a  scheme.  It's  only  one  chance 
in  a  thousand,  but  it's  something. 

GILLY.    What  is  it? 

JOE.  Listen!  All  the  way  home  I'm  tryin*  to 
think  of  some  excuse  why  you  two  bought  the  crop. 
I  know  we  can't  stall  long,  because  the  peaches  will 
begin  to  spoil 

MUGGS.  There  ain't  no  way  to  keep  'em  from 
spoflin',  is  there  ? 

JOE.    Yes,  there  is.    There's  one  way. 

GILLY.   Eh?^ 

JOE.    Make  jam  of  'em. 

MUGGS.    Like  we  had  last  night? 

JOE.    That's  the  idea. 

GILLY.    Holy  Jessie  James ! 

JOE.  I  put  a  dozen  jars  of  jam  in  the  wagon  and 
it  was  a  pipe  selling  it.  Got  50  cents  a  jar  for  it, 
too. 

MUGGS.    Fifty  cents  a  jar? 

JOE.  I've  spread  the  story  all  over  the  village, 
we've  organized  a  peach  jam  Company.  God  knows 
how  we  can  make  it  all,  but  we  got  to  try  and  find 
some  place  where  it  can  be  done.  Great  Scott !  If 
I  could  only  believe  it  would  work. 
^  MUGGS,  Say !  It  will  if  we  believe  it.  If  you  be 
lieve  a  thing  it'll  come  out  just  like  you  believe——-* 

JOE,    What  are  you  talking  about?— — ^ 


TURN  TO  THE  RIGHT.  95 

MUGGS.  Never  you  mind — just  believe.  (Crosses 
to  GILLY)  Go  on,  Gilly,  believe  it.  (Slaps  GILLY 
on  the  back) 

GILLY.    Oh,  my  back! 

MUGGS.    Never  mind  your  back — believe  it ! 

(SAM  MARTIN  enters  hurriedly  below  house.  He 
wears  light  checked  suit,  straw  hat,  flashy 
flozving  tie,  stand  up  collar,  tan  shoes  with  Bull 
Dog  toe.) 

SAM.  (Excited  and  out  of  breath)  Hello,  Joe! 
— I  just  heard  you  was  home — ( MUGGS  crosses  at 
back  to  R.  of  SAM  )  Remember  Sam  Martin  ? 

JOE.  Why  sure — Hello  Sammy,  how  are  you? 
(Shakes  hands) 

SAM.    I'm  all  right. 

MUGGS.  (Coming  close  to  him  and  looking  him 
over)  Say,  kid!  Where's  the  circus ?  (SAM  turns 
to  him)  Take  me  along  with  you,  will  you? 

SAM.  I  ain't  goin'  to  no  circus — and  I  don't  know 
you  anyway. 

MUGGS.  (Putting  arm  around  his  neck)  Well, 
come  on,  let's  get  acquainted ! 

SAM.  Go  on  an*  let  me  alone !  (Pushes  MUGGS 
away) 

JOE.    Nix,  Muggs. 

SAM.    (To  JOE.)    Say,  what  ails  him? 

JOE.  He's  all  right,  Sam— He's  just  a  little  play 
ful  but  he  won't  bite 

SAM.  Well,  I  ain't  got  no  time  to  be  playful  now 
— I'm  busy — Where's  Mis'  Bascom  ? 

JOE.    Gone  out. 

SAM.    Is  it  true  she's  sold  the  peaches? 

JOE.    Yes,  that's  true 

SAM.    Who  to? 

MUGGS.    (R.  c.)    To  me. 

SAM.  (Looking  at  MUGGS)  She  hain't  (MRS. 
BASCOM  enters  below  house — she  has  brown  paper 
parcel  in  basket.  To  JOE)  Has  she? 


96  TURN  TO  THE  RIGHT. 

JOE.    Yes,  that's  right,  Sam. 

SAM.  (Crosses  to  MRS.  BASCOM,  R.)  How  do, 
Mis'  Bascom  ? 

MRS.  BASCOM.  Why,  Sammy! — How  grand  you 
look! 

SAM.  Yes'm — I  been  in  New  York — on  business. 
Did  you  sell  him  your  peaches  ?  (Points  to  MUGGS) 

MRS.  BASCOM.  Yes,  he's  bought  the  whole  crop. 
(SAM  goes  up  to  cellar  door.  MUGGS  goes  to  GILLY 
at  w.  B.  JOE  goes  to  her)  Joey,  do  you  know  what 
they're  sayin'  in  the  village  ? 

JOE.  Yes,  mother,  and  I  want  to  talk  to  you  about 
that. 

MRS.  BASCOM.  Oh,  well!  I'm  awful  late  with 
the  dinner — I  guess  I'll  have  to  get  that  first.  (Goes 
toward  door) 

JOE.  (Holding  door  open)  I  can  tell  you  about 
it  at  the  same  time — I'll  be  back  pretty  soon,  Sam. 

(MRS.  BASCOM  exits  into  house,  followed  by  JOE.) 

SAM.  To  MUGGS)  Say,  what  are  you  going  to 
do  with  the  peaches  ? 

MUGGS.  Eat  'em.  (  MUGGS  and  GILLY  unload 
peaches,  placing  them  at  cellar  door,  on  the  last 
basket  taken  off,  there  is  one  loose  peach  that  JOE 
gives  to  CALLAHAN) 

SAM.  I  hsard  there  was  a  syndicate  that's  goin' 
to  make  Mis'  Bascom's  jam 

MUGGS.  (2nd  basket)  Do  you  get  that !  There 
ain't  no  chance  to  keep  a  secret  around  here. 

SAM.    (Indicating  GILLY)    Who's  he? 

MUGGS.    That  gentleman  is  my  partner 

SAM.    Are  you  two  a  syndicate? 

MUGGS.     \3rd.  Basket)    Sure,  we're  a  syndicate. 

SAM.  (Crosses  to  L.  c.)  And  you're  goin'  to 
make  jam  of  all  that  peach  crop  ? 

MUGGS.  (Ath  basket  which  he  places  nearest  steps 
of  po.-ch — GILLY  moves  w.  B.  to  L.  of  zvell)  Right 
down  to  the  last  peach  skin,  kid. 


TURN  TO  THE  RIGHT.  9? 

SAM.    Who's  goin'  to  sell  it  for  you? 
MUGGS.     (Going  to  SAM)    Why?    Can  you  sell 
some? 

SAM.    I  can  sell  it  all. 
MUGGS.    You  can  what ! 

(GiLLY  comes  down  L.  of  SAM.) 

SAM.    You  give  me  the  chance  an'  I'll  show  you. 

MUGGS.  Well,  you  go  right  ahead  and  sell  'em. 
(Goes  up  R.  c.) 

GILLY.  Say,  and  hurry  back  with  the  money. 
(Goes  up  L.  c.) 

SAM.  (Taking  out  paper)  Say,  if  you  mean  it, 
how  would  you  like  to  sign  this  ? 

MUGGS.     (Coming  back  to  him)     What  is  it? 

SAM.  Oh,  it's  all  square.  I  just  give  Mr. 
Stephens,  the  lawyer,  fifty  cents  to  write  it  out  for 


( GILLY  comes  L.,  of  SAM.) 

MUGGS.  Read  it!  ( MUGGS  and  GILLY  listen  at 
tentively) 

SAM.  Know  all  men  by  these  presents,  that  I, 
blank — the  blank  of  the  blank  Jam  Company,  for 
the  sum  of  One  Dollar,  lawful 

MUGGS.    One  Dollar ! 

SAM.  Oh,  that's  only  the  way  a  lawyer  writes  it, 
but  what  it  means  so's  folks  can  understand  it  is 
that  you  agree  to  give  me  one  per  cent  commission 
on  the  Jam,  and  I  guarantee  to  sell  all  you  can 
make 

MUGGS.  And  you  think  we'd  give  you  all  that  for 
one  dollar !  Say,  listen !  Anybody  that  wants  to  do 
business  with  this  syndicate  has  got  to  put  up  somt 
money — some  regular  money. 

SAM.    How  much  do  you  want  me  to  ptrt  tip? 

MUGGS.    How  much  you  got? 


98  TURN  TO  THE  RIGHT. 

SAM.    I  got  most  Three  Hundred  Dollars 

MUGGS.  Kiss  me!  (Opens  his  arms  to  embrace 
SAM,  falls  on  him) 

SAM.  (Pushing  him  away)  Oh,  stop  foolin',  will 
you  an'  talk  business 

MUGGS.    Just  show  me  that  coin. 

SAM.  (Feeling  in  his  inside  pocket,  takes  out 
bank  book  with  roll  of  bills  in  it.  MUGGS  and  GILLY 
crowd  close  to  him,  he  pushes  them  away  with  his 
elbows)  Oh,  I  got  it  all  right!  If  I  put  up  some 
money,  how  do  I  know  you're  goin'  to  make  the 
jam? 

MUGGS.    I'm  tellin*  you. 

SAM.  I  don't  believe  all  I'm  told — Let  me  put 
it  in  here.  (Referring  to  paper)  If  you  don't  make 
the  jam,  I  own  the  peaches,  an'  I'll  give  you  Two 
Hundred  and  fifty  Dollars  as  an  advance  on  the 
first  lot  I  sell. 

MUGGS.    What  do  you  say,  Mr.  Gilbert  ? 

GILLY.  I  say  count  it  and  see  if  he's  got  Two 
fifty. 

MUGGS.  You're  on,  kid — hand  over  the  coin. 
(Starts  to  grab  it) 

SAM.    (Pulling  back)    Wait  a  minute 

MUGGS.    It's  hard  for  you  to  give  up,  ain't  it  ? 

SAM.  (Writing)  I  ain't  givin'  up  till  I  get  this 
signed.  I  worked  four  years  for  this  money. 
What's  your  name? 

MUGGS.    McCarthy. 

SAM.  I  want  to  write  it  in  this  blank — What's 
your  first  name? 

MUGGS.    (Absent  mindedly)    McCarthy. 

SAM.  (Looking  up)  What,  your  first  and  last 
name  just  the  same  ? 

MUGGS.  It's  my  middle  name  too — McCarthy 
McCarthy  McCarthy ! 

SAM.  That's  a  hell  of  a  name  (Offering  paper) 
Put  it  there. 

MUGGS.  (Shaking  hands  with  him)  How  are 
you  I 


TURN  TO  THE  RIGHT.  99 

SAM.  (Pulling  away  his  hand)  No — I  mean 
your  name 

MUGGS.  (Taking  paper  and  pen)  I'll  sign  it  in 
four  places ! — Be  gettin'  that  Two  Fifty  ready, 
kid 

SAM.  (Counting  out  money)  Don't  you  worry. 
(JoE  enters  from  house — As  SAM  finishes  counting 
money,  MUGGS  snatches  it  from  him — SAM  grabs 
for  it,  and  MUGGS  puts  paper  in  SAM'S  hand. 
MUGGS  and  GILLY  count  money  carefully.  Crosses 
to  JOE,  hands  paper  to  him)  Say,  Joe,  is  this  all 
right?  (JoE  looks  at  paper)  If  it  ain't  I  can  make 
it  hot  for  him — (Comes  back  to  MUGGS)  It  would 
be  obtaining  money  under  false  pretences. 

JOE.  (Reads  paper  in  amazement)  What  the 
blazes  is  this  ? 

SAM.  I  just  paid  'em  Two  Hundred  and  fifty 
Dollars — ( MUGGS  waves  money  at  JOE)  for  the 
right  to  sell  their  jam. 

JOE.  (Crosses  to  MUGGS,  MUGGS  shows  JOE  the 
money.  JOE  turns  to  SAM)  Where  did  you  get  Two 
Hundred  and  fifty  Dollars? 

SAM.  From  the  bank!  I  drew  out  all  I  had. 
Them  fellers  ain't  cheatin'  me,  be  they? 

JOE.    What  makes  you  think  you  can  sell  it? 

SAM.  Never  mind — All  I  want  to  find  out  is 
whether  that  paper's  g>od. 

JOE.    Sure  it  is 

SAM.    (  Grabs  paper,  starts  off  quickly)    So  long ! 

JOE.  (Stopping  him)  Here!  Wait  a  minute! 
Who  got  you  to  do  this  ? 

SAM.    Nobody — I  done  it  my  own  self. 

JOE.  (Turns  SAM  to  his  L.)  Oh,  no  you  didn't. 
Tell  me  the  truth  now. 

SAM.  (Putting  away  paper)  Honest,  Joe — Only 
I  found  out  where  I  could  sell  it ! 

JOE.    Where's  that? 

SAM.  Not  much — If  I  told  you  you  might  try  to 
beat  me  out  of  my  commission ! 


ioo  TURN  TO  THE  RIGHT. 

JOE.  No,  Sam — No  one  wants  to  beat  you.  We 
couldn't  anyhow — you've  got  the  agreement. 

SAM.    That's  right. 

JOE.    Come  on,  tell  us,  Sam. 

SAM.  Well,  I  got  a  man  in  New  York  that'll  pay 
$36.00  a  gross  for  all  he  can  git.  And  that  man  is 
Henry  W.  Parker ! 

JOE.    Henry  W.  Parker? 

MUGGS.    Who's  he? 

SAM.  Who  is  he?  He's  the  biggest  wholesale 
grocery  in  the  country,  an'  I  was  talkin'  with  him 
just  the  same  as  if  he  was  anybody. 

MUGGS.  Sweetheart!  (Starts  to  embrace  him. 
SAM  pushes  him  away) 

SAM.  Now  you  stop.  Say,  Joe,  keep  him  away, 
can't  you  ? 

JOE.  He's  all  right,  Sam.  Now  sit  down  and  tell 
us. 

SAM.  (Sits  on  well,  talks  faster  and  faster  as  he 
goes  on)  Well,  Mr.  Parker  came  through  here 
with  an  automobile  party  about  a  month  ago — they 
were  hungry  and  they  wan't  no  hotel,  so  they  bought 
a  lot  of  stuff  at  the  grocery  store — I  waited  on  him 
and  sold  him  a  jar  of  Mis'  Bascom's  preserves. 
(Sees  MUGGS  close  to  him  and  suddenly  moves 
away)  A  week  after  that  the  Deacon  commenced 
to  get  letters  from  the  Parker  Company,  and  next 
thing  I  knew  he  was  tryin'  to  buy  this  place.  Then  I 
heard  him  tell  Mis'  Tuttle  to  make  some  jam  for 
him,  an'  try  to  have  it  like  your  Ma  made,  an'  he 
sent  a  sample  of  it  to  the  Parker  Co. — I  suspicioned 
somethin'  was  goin'  on,  and  yesterday  when  your  Ma 
agreed  I  could  sell  some,  I  says  to  myself — I'm  goin' 
to  see  Mr.  Parker.  I  was  at  his  place  at  6  o'clock 
this  morning,  but  he  didn't  open  up  till  8.  When  he 
come  he  wasn't  goin'  to  see  me — but  you  bet  I  got 
into  his  office,  an'  I  told  him  the  whole  thing.  As 
soon  as  I  got  started  he  says  into  the  telephone — 
"  Don't  let  me  be  interrupted  ",  he  says ;  then  he  told 


TURN  TO  THE  RIGHT.  101 

me  the  samples  he  got  from  Tillinger  wasn't  the  same 
as  what  I  sold  him.  Then  he  tasted  some  jam  from 
the  jar  I  brought  direct  from  Mis'  Bascom,  and  he 
says,  "  That's  it — how  much  can  you  get  of  that  ?  " 
and  gosh  he  was  excited,  an'  then  we  figured  as  near 
as  we  could  how  many  jars  this  crop  would  make, 
(Rising)  and  he  was  tickled  to  death  and  he  says 
"  It'll  be  the  biggest  thing  of  the  kind  on  the  market." 

(MUGGS  and  GILLY  grab  SAM  and  "Ring  around 
the  Rosey") 

SAM.  (Breaking  away.  Crosses  above  JOE  to 
steps  of  house.  JOE  catches  him  by  the  arm  and 
swings  him  around  front  to  R.  of  well)  Say,  Joe 
Let's  go  in  the  house  an'  get  away  from  him. 

JOE.    Oh,  he's  all  right,  he  won't  trouble  you. 

MUGGS.  No,  my  partner  will  keep  me  away.  (To 
GILLY)  Hold  me ! 

GILLY.    Sure. 

SAM.  (Taking  out  another  sheet  of  paper) 
Here's  how  it  figured  out — Look !  Your  orchard  is 
five  acres — a  hundred  and  thirty-five  trees  to  the 
acre,  countin'  ten  baskets  to  a  tree  and  sixty  peaches 
to  the  basket,  makes  four  hundred  and  five  Thou 
sand  peaches,  or  more  than  a  Hundred  Thousand 
jars.  (SAM  gives  JOE  the  paper)  Parker  offered 
Thirty-six  Dollars  a  gross  and,  takin'  out  Five 
Thousand  for  jars,  labels,  labor  and  everything 
leaves  you  over  Twenty  Thousand  Dollars 

MUGGS.    (With  arms  outstretched)    Oh! 

SAM.  Look  out,  now!  (Swings  at  MUGGS  who 
jumps  back.  JOE  grabs  SAM  and  GILLY  catches 
MUGGS) 

JOE.  Sam  you're  a  corker — Now  do  something 
for  me,  quick — and  I  may  raise  that  one  per  cent — 
Get  the  first  train  back  to  New  York  and  find  out  if 
Mr.  Parker  will  see  me  in  the  morning. 


102  TURN  TO  THE  RIGHT. 

SAM.    Will  you  pay  my  expenses  ? 

JOE.  (Pushing  SAM  to  R.)  If  the  jam  business 
wins  out,  I'll  pay  'em  for  the  rest  of  your  life. 

SAM.    The  next  train  goes  in  ten  minutes 

JOE.    (Pushes  him  R.)    Well,  grab  it 

SAM.    But  I  ain't  had  no  dinner. 

JOE.    Oh,  forget  your  dinner. 

SAM.  (Starts  off)  But  I'm  gettin'  awful  hungry. 
I  ain't  had  nothin'  all  day  but  peanuts.  (Exits  run 
ning  below  house) 

JOE.  (Crossing  between  MUGGS  and  GILLY) 
Boys !  20,000  a  year ! 

MUGGS.  (Holding  up  two  rolls  of  bills)  Here's 
125.  for  the  Deacon  and  125.  for  the  syndicate. 

JOE.  (Takes  the  roll  for  the  DEACON  from 
MUGG'S  right  hand)  Just  give  me  that — (Crosses 
to  R.  c.)  I  want  to  take  it  to  Tillinger. 

(CALL  AH  AN  appears  above  house.  He  is  a  man  of 
about  45  years,  medium  sized,  blunt  but  kindly. 
His  manner  is  quiet  and  forceful.  He  is  dressed 
in  a  neat  business  suit  and  wears  a  straw  hat.) 

CALLAHAN.  (At  entrance  above  house)  Say,  can 
you  tell  me  where  Mr.  Tillinger  lives  ? —  ( The  three 
boys  glance  around.  CALLAHAN  recognises  MUGGS 
and  GILLY)  Hello!  (Comes  down  back  of  well  to 
L.  c.  GILLY  crosses  to  R.  of  JOE) 

MUGGS.    Callahan ! 

JOE.    Who? 

GILLY.    (under  his  breath)    A  bull! 

MUGGS.    Nailed ! 

JOE.    A  detective? 

GILLY.    Sure ! 

CALLAHAN.  (Looking  at  MUGGS  and  GILLY  in 
surprise)  Well,  what's  all  this  about? 

MUGGS.  (Innocently,  going  to  him)  Hello,  Calla 
han,  what's  the  matter? 

CALLAHAN.   That's  what  I  want  to  know.  There's 


TURN  TO  THE  RIGHT. 

somethin'  doin' — (Crosses  to  R.  of  MUGGS)  or 
Slippery  Muggs  and  Dynamite  Gilly  wouldn't  be 
hangin'  around  here. 

MUGGS.  Soft  pedals  on  those  names,  will  you? 
We  ain't  doin'  nothin',  are  we,  Gilly  ? 

GILLY.    No,  not  a  thing — on  the  level  we  ain't. 

MUGGS.    Just  pay  in'  a  visit  to  Mr.  Bascom  here. 

CALLAHAN.  (Looking  suspiciously  at  JOE)  How 
do  you  do,  Mr.  Bascom  ? 

JOE.    How  are  you  ? 

CALLAHAN.    Do  you  know  these  men ? 

JOE.    Yes,  they're  pals  of  mine. 

CALLAHAN.    Is  that  so?    (Looks  about  the  place) 

MUGGS.  (To  CALLAHAN,  indicating  JOE)  Now 
don't  go  mixin'  him  up  in  anythin' — he  ain't  in  our 
business. 

CALLAHAN.  Oh,  shut  up!  (To  JOE)  You  live 
here? 

JOE.    Yes,  sir. 

(CALLAHAN  goes  to  house,  examining  the  place. 
GILLY,  as  soon  as  CALLAHAN'S  back  is  turned, 
crosses  at  back  to  front  of  well.) 

CALLAHAN.  (Speaking  during  the  above)  Well, 
this  looks  great!  You  couldn't  have  picked  ^  out  a 
better  spot — nice  little  story  for  the  Chief — this  is — 
of  course  that  house  ain't  got  a  bit  of  stolen  property 
in  it. 

JOE.    No,  it  hasn't 

CALLAHAN.  (R.  of  JOE)  Oh,  no — and  so  there 
ain't  no  harm  in  havin'  a  look  through  it.  (Starts 
up  steps  of  porch) 

JOE.  (Stopping  him)  Yes  there  is — you've  got 
no  right  to  go  in  there 

CALLAHAN.  (Breaking  in)  Easy  now,  don't  try 
to  pull  anything  on  me.  I'm  goin'  to  look  through 
every  inch  of  that  shack — and  if  you  three  know 
what's  good  for  you,  you'll  be  nice — See? — Nice? 
(Turns  to  porch) 


i<H  TURN  TO  THE  RIGHT. 

MRS.  BASCOM.  (Opens  porch  door)  Dinner's 
ready,  boys — (Sees  CALLAHAN)  Oh!  (Stands 
smiling  at  him.  CALLAHAN  looks  at  her  in  great 
surprise — takes  off  hat) 

JOE.    Mr.  Callahan,  this  is  my  mother. 

MRS.  BASCOM.  (Going  to  him  smilingly  and  offer 
ing  him  her  hand)  I'm  real  glad  to  see  you,  Mr. 
Callahan. 

CALLAHAN.  (Uncomfortably  shaking  hands) 
Thank  you. 

MRS.  BASCOM.  We're  just  goin'  to  have  dinner— 
won't  you  stay  ? 

CALLAHAN.    You're  very  kind,  but  I 

MRS.  BASCOM.  Oh,  do,  it  won't  take  a  minute  to 
set  another  place. 

JOE.  We — we've  got  a  little  business  to  talk  over 
first,  mother 

MRS.  BASCOM.  Oh,  well,  don't  hurry — But  you'll 
get  Mr.  Callahan  to  stay 

JOE.    I'll  try. 

MRS.  BASCOM.  That's  right  (Turns  at  door) 
Come  in  when  you're  ready.  (She  smiles  at  CALLA 
HAN  and  exits  into  house) 

CALLAHAN.  (Thinks  a  moment — puts  on  hat) 
The  search  thing  is  off. 

JOE.  Thank  you,  Mr.  Callahan.  Why,  my 
mother's  always  lived  in  this  village.  Anybody'!! 
tell  you  she's  all  right. 

CALLAHAN.  Say — I  wasn't  born  yesterday.  I 
know  she's  all  right,  but  you  want  to  be  careful 
about  the  friends  you  have  around  you.  (Glances 
at  MUGGS  and  GILLY) 

GILLY.  We're  both  keepin'  straight  here,  Calla 
han.  On  the  level  we  are. 

CALLAHAN.  (Crossing  to  MUGGS.  GILLY  comes 
R.  of  CALLAHAN)  I'd  like  to  believe  that. 

MUGGS.    Want  me  to  tell  you  how  to  believe  it  ? 

CALLAHAN.    No,  I  want  you  to  get  out. 

MUGGS.    Who  tipped  you  off  we  was  here? 


TURN  TO  THE  RIGHT.  105 

CALLAHAN.  Nobody.  I'm  on  some  other  busi 
ness,  but  I  thought  I'd  have  to  quit  it  long  enough 
to  take  you  guys  back.  (Glances  at  MUGGS  and 
GILLY) 

MUGGS.    Who  are  you  after? 

CALLAHAN.  Not  you,  I'm  glad  to  say.  (Looks 
at  MUGGS  and  GILLY)  You  behave  yourselves  now. 
(Goes  up  R.  to  exit  above  house) 

MUGGS.    You  bet.  1 
GILLY.    Sure.        J 

CALLAHAN.    So  long ! 

MUGGS.     Bye-byll   ,~ 
GILLY.    So-long!  }  (Together) 

(  GILLY  crosses  above  MUGGS  to  L.) 

TILLINGER.  (Entering  from  below  house)  Ha! 
You  two  scallywags  are  here  yet,  be  you  ?  (Crosses 
to  them) 

(CALLAHAN  stops  and  listens.) 

JOE.    What  business  is  that  of  yours  ? 

TILLINGER.  You'll  find  it's  my  business.  Your 
Ma  owned  up  this  mornin'  that  this  farm  was  mine, 
and  the  man  I  sold  it  to's  comin'  here  to^claim  it. 

JOE.    When  he  comes  we'll  talk  to  him/ 

TILLINGER.  But  them  rowdies  are  pickin'  my 
peaches,  an'  if  they  don't  clear  out  an'  let  'em  alone, 
I'll  have  'em  both  in  the  calaboose. 

CALLAHAN.     (Coming  down  R.)    What's  that? 

JOE.  (Desperately)  The  peaches  don't  belong  to 
him,  Mr.  Callahan. 

TILLINGER.  Perhaps  the  Hundred  and  twenty-five 
Dollars  they  stole  last  night  didn't  belong  to  me ! 


io6  TURN  TO  THE  RIGHT. 

CALLAHAN.  ( Crosses  to  and  looking  from  MIJGGS 
to  GILLY)  So — you  have  been  pulling  something! 
(Turns  to  him)  Is  your  name  Tillinger? 

TlLLINGER.     Yes. 

CALLAHAN.  Perhaps  I  can  be  of  some  help  to 
you.  (Shows  badge)  I'm  from  New  York  Police 
Headquarters. 

TILLINGER.  A  detective !  I'm  mighty  glad  you're 
here. 

CALLAHAN.    Tell  me  what  the  trouble  is. 

TILLINGER.  Last  night,  one  of  these  fellers  picked 
my  pocket. 

CALLAHAN.  (Looks  at  MUGGS,  then  turns  to 
JILLINGER)  Which  one? 

(  MUGGS  pulls  money  out  of  pocket  while  CAL- 
LAHAN'S  back  is  turned  toward  him.  Tries  to 
get  GILLY  to  take  it — GILLY  side  steps.  NOTE: 
MUGGS  has  the  money  in  his  left  hand,  he 
folds  it  up  as  small  as  possible,  then  turning 
towards  GILLY  he  stands  with  his  arms  akimbo, 
and  slips  the  money  into  his  left  hip  pocket. 
He  keeps  his  left  hand  closed  until  after  he  is 
supposed  to  slip  the  money  into  TILLINGER'S 
pocket.) 

TILLINGER.  (Doubtfully)  Well,  I  guess  they 
both  of  'em  had  a  hand  in  it. 

CALLAHAN.    Have  you  just  found  it  out? 

TILLINGER.  No,  I  missed  it  out  of  my  pocket  last 
evenin',  but  I  thought  Fd  lost  it  at  first — spent  half 
the  night  lookin'  for  it.  (He  glances  savagely  at 
MUGGS  and  GILLY)  Scoundrels ! 

JOE.  He  can't  prove  that  any  of  us  took  his 
money,  Mr.  Callahan.  (Goes  up  R.  c.) 

TILLINGER.    I  can  prove  one  of  'em  assaulted  me. 

CALLAHAN.     (Surprised)     Assaulted  you? 

TILLINGER.    Yes,  he  did.    (Points  at  MUGGS) 

MUGGS.      (Crossing    to    TILLINGER)      I    didn't 


TURN  TO  THE  RIGHT.  107 

assault  you.  (To  CALLAHAN)  Why,  Callahan,  he 
was  in  the  kitchen — usin'  insultin'  language  to  Mr. 
Bascom,  an'  all  I  did  was  just  to  push  him  out — 
easy — like  that.  (He  illustrates,  and  as  he  does  so 
slips  the  roll  of  bills  into  TILLINGER'S  right  hand  vest 
pocket.  JOE  does  not  see  this.  MUGGS,  after  the 
scuffle,  goes  R.  showing  his  empty  hands) 

TILLINGER.  Take  your  hands  oif'n  me.  (Rushes 
to  CALLAHAN  for  protection) 

JOE.  (Coming  down)  Nix,  Muggs.  (Going  to 
TILLINGER)  Mr.  Tillinger,  you  lost  that  money  last 
night. 

TILLINGER.    I  never  lost  a  cent  in  my  life. 

JOE.  Oh,  yes,  you  did,  for  I  found  it  on  the 
porch  this  morning,  and  here  it  is.  (He  hands 
TILLINGER  SAM'S  roll  of  bills.  Then  crosses  to  R. 
MUGGS  goes  toward  TILLINGER,  and  above  him) 

TILLINGER.  (As  he  conuts  the  money)  Ah, 
you're  givin'  it  back  now — tryin'  to  keep  out  of  limbo, 
but  you'll  find — (He  is  putting  the  money  in  his  vest 
pocket.  He  stops  suddenly — surprised — looks  front 
• — feels  in  his  pocket,  slowly  withdraws  his  fingers 
with  two  rolls  of  bills,  takes  one  roll  in  each  hand) 

CALLAHAN.    What's  that  ? 

TILLINGER.  (Counting  the  money,  amazed)  An 
other  hundred  and  twenty-five ! 

(ELSIE  comes  on  -from  above  house.    Comes  down  R. 
of  MUGGS.    She  is  quite  out  of  breath.) 

ELSIE.  Father ! — I  just  found  the  money  you  lost, 
under  the  hall  sofa !  (She  holds  out  roll  of  bills  to 
him) 

MUGGS.  (To  ELSIE)  He's  got  his  money,  Ma'am. 
(Snatches  one  roll  of  bills  from  TILLINGER)  That's 
my  coin  that  Mr.  Bascom  found 

CALLAHAN.  (Crosses  to  and  grabs  MUGGS  by 
arm)  Hold  on !  Let's  see  about  all  this. 


io8  TURN  TO  THE  RIGHT. 

(They  all  start  talking  at  once.) 

CALLAHAN.    (Shouting)    Wait  a  minute ! 

JOE.    I  can  explain  it,  Mr.  Callahan. 

CALLAHAN.    Well,  explain  it  then. 

JOE.  (Uncertainly)  I  will.  Last  night  I  paid 
him — but  first,  (Goes  itp  on  porch  and  opens  door 
to  house)  Miss  Tillinger,  would  you  mind  going 
inside  ? 

TILLINGER.  (As  she  reaches  steps)  Elsie,  I  want 
you  to  go  home ! 

(ELSIE  stops.) 

JOE.  She  can  go  this  way  just  as  well — (ELSIE 
crosses  JOE  and  exits  into  house,  JOE  whispering  to 
her  as  she  crosses)  God  Bless  you ! 

CALLAHAN.    Now  then,  Mr.  Bascom 

TILLINGER.    I  can  tell  you 

CALLAHAN.  (Stopping  him)  Just  a  moment — I 
can  only  hear  one  at  a  time. 

JOE.    Mr.  Callahan,  do  you  see  those  peaches  ? 

CALLAHAN.    Do  you  think  I'm  blind  ? 

JOE.     (Offering  him  one)    Try  one 

CALLAHAN.  (Taking  the  peach — later  puts  it  in 
his  pocket)  Say !  What  are  you  tryin'  to  do — bribe 
me? 

JOE.  No,  I'm  tryin'  to  tell  you  that  my  mother 
has  an  orchard  full  of  them — and  this  man's  trying 
to  cheat  her  out  of  it. 

TILLINGER.  It's  a  lie.  She  was  poor  and  I  sold 
this  place  to  help  her  and  make  her  comfortable. 

JOE.  You  didn't  sell  it  at  all.  Mr.  Callahan,  do 
you  think  he'd  sell  an  orchard  of — of — (Gets  paper 
SAM  has  given  him)  135  trees  to  the  acre,  and  ten 
baskets  to  the  tree,  sixty  peaches  to  the  basket — when 
he  knew  that  those  peaches  would  make  more  than 
twenty  thousand  dollars'  worth  of  jam  a  year — 
(Crossing  to  TILLINGER.  MUGGS  starts  up  R., 


TURN  TO  THE  RIGHT.  109 

CALLAHAN  does  same  to  cut  him  off)  You  knew  all 
this  when  you  tried  to  get  this  place,  and  I  can  prove 
it. 

(MORGAN  enters  below  house.) 

TILLINGER.  Ah !  Here's  the  man  I  sold  the  place 
to — (JoE  turns  and  recognises  MORGAN)  Perhaps 
you'd  better  hear  what  he's  got  to  say — Mr.  Morgan. 

MORGAN.     (Going  to  JOE)     Pete  Turner! 

TILLINGER.    Why,  his  name's  Joe  Bascom. 

MORGAN.    His  name's  what  ? 

TILLINGER.  Joe  Bascom,  he's  the  feller  that's 
holdin'  up  the  sale  of  this  place. 

MORGAN.  Oh,  he  won't  hold  up  much  longer  when 
I  tell  you  about  him.  Mr.  Tillinger,  that  man  robbed 
my  father  of  twenty-five  hundred  dollars  he  spent 
last  year  in—in 

(MRS.  BASCOM  opens  kitchen  door  and  enters. 
She  slowly  goes  dozvn  the  steps  and  above  the 
men.  MORGAN'S  back  is  to  her.  CALLAHAN, 
who  has  come  down  on  his  R.,  touches  MORGAN 
on  the  shoulder,  he  turns,  looks  at  CALLAHAN, 
his  expression  changes  to  one  of  horror  as 
CALLAHAN  slowly  shows  him  his  badge.) 

CALLAHAN.  Mr.  Morgan,  I  want  you.  (Quietly 
showing  badge)  Your  father  sent  me  for  you,  he's 
found  out  who's  been  robbing  him  now.  He  knows 
all  about  those  notes,  and  checks  and  everything. 

JOE.  (Screaming)  Ah!  I  know  now — it  was 
you — you  stole  that  money — you  had  me  sent  away 
for  a  year — you — (Rushes  at  him  with  arms  up 
lifted) 

MRS.  BASCOM.  (Coming  between  JOE  and  MOR 
GAN,  she  throws  her  arms  about  JOE'S  neck)  Joe! 

JOE.  (Embracing  her  frantically)  Mother,  I  can 
tell  you  now.  I  can  tell  you  everything. 

CURTAIN. 


I  io  TURN  TO  THE  RIGHT. 

ACT  III. 

SCENE: — Same  as  ACT  II. 

Except  a  number  of  changes  have  taken  place. 
A  wide  veranda  has  been  built  on  front  part  of 
the  house  extending  off-stage  above  house. 
Kitchen  window  has  new  shade.  On  veranda 
are  several  porch  chairs  and  a  small  table,  and 
a  small  wicker  chair  is  on  lawn  R.  c. 

Up  R.  c.,  in  the  distance,  a  new  house  has  been 
built  on  the  hill.  It  has  three  windows  on 
ground  floor,  which  on  cue  are  lighted,  and  one 
window  in  second  story,  which  also  may  be 
lighted,  after  the  lights  in  first  floor  go  out. 
This  upper  window  has  a  shade  which  is  slowly 
lowered  after  the  room  is  lighted. 

An  auto,  with  head  light  and  red  rear  end 
light,  starts  on  cue  from  u.  R.  to  house,  stops 
there,  and  then  continues  down  the  hill  and  out 
of  sight  u.  L. 

There  is  a  ground  row  of  hill,  trees,  bushesr 
etc.,  across  stage  as  far  back  as  possible.  On 
the  back  of  this  row  a  track  is  built  on  which 
the  auto  is  drawn  by  a  windlass  and  string. 
The  auto  is  about  12  by  io  inches.  The  house 
is  about  30  by  16  inches.  The  peach  trees  on 
left  are  in  full  bloom. 

TIME:— 8:30  P.  M.    The  next  year. 

At  rise,  the  stage  is  empty.  In  the  house  a 
dinner  party  is  in  progress.  They  are  just 
finishing.  Laughter  and  chattering  heard. 
There  is  applause  and  cries  of  "Speech!" 
Then  JOE'S  voice  is  heard  faintly. 


TURN  TO  THE  RIGHT.  in 

While  the  following  is  going  on,  KATIE,  the 
maid,  enters  from  kitchen  door.  She  is  young, 
good  looking  and  wears  a  regulation  Maid's 
costume.  She  is  carrying  a  large  tray  on  which 
is  coffee  percolator,  four  small  coffee  cups, 
saucers  and  spoons,  sugar  bowl  and  tongs, 
cigars,  cigarettes,  and  a  table  cloth.  She  places 
tray  on  chair  on  porch.  Takes  a  small  wicker 
table  from  porch  and  places  it  on  stage  near  the 
steps.  Takes  the  table  cover  from  tray  and 
spreads  it  on  the  table,  then  puts  tray  on  table. 
Stands  L.  of  table. 

JOE.  (Off-stage — in  house)  It  is  easy  to  say  this 
is  the  happiest  evening  of  my  life,  because,  since  Fve 
been  married,  that  is  what  every  evening  has  been — 
(There  are  murmurs  of  applause — "  Good  boy" 
"  You  both  look  it,"  "  Hope  it  will  always  keep 
up"  etc.)  My  wife  and  I—  (Cries  of  "  Oh")  have 
had  a  wonderful  trip — but  we've  both  said  the  best 
part  of  it  is  getting  home.  (Cries  of  "  Good"  "  Glad 
you're  back"  "  Welcome"  etc.)  This  magnificent 
banquet,  so  splendidly  arranged  by  that  great  social 
lion — our  Mr.  Samuel  Martin — (Applause  and  com 
ment)  Has  been  a  joyful  surprise  to  my  wife  and 
me. 

(The  above  is  not  to  be  distinctly  heard  in  front — 
only  an  occasional  word.  There  is  loud  ap 
plause,  cries  of  "Hear,"  "Hear,"  "Some 
speaker"  etc.,  etc.  SAM'S  voice  is  heard.) 

SAM.  (Off-stage — in  house — loudly)  Now,  no 
nore  speeches.  You  do  that  at  banquets,  not  dinners. 

(Laughter  and  cries  of  "  Well,  well! "  "  What  do 
we  do  next?"  etc.  DEACON  TILLINGER  and 
MRS.  BASCOM  come  around  porch.  DEACON  has 
on  frock  coat  and  carries  a  gold  headed  cane. 


112  TURN  TO  THE  RIGHT. 

MRS.  BASCOM  wears  a  plain  but  rich  dress, 
with  a  diamond  bar-pin  on  her  bosom.) 

TILLINGER.  (Comes  R.  of  well)  I  ain't  narrow 
minded,  but  I  was  brought  up  to  consider  that 
dancin'  was  wicked 

MRS.  BASCOM.  (Going  around  back  of  well  to  &,) 
Nonsense,  Deacon!  The  idea!  (Peach  blossoms 
drop  from  branch  as  MRS.  BASCOM  bends  it  down  to 
smell  them) 

TILLINGER.  And  when  I  heard  that  Joe  and  Elsie 
was  goin'  to  have  dancin'  at  their  party  to-morrow 
night — I  thought  'twas  my  duty  to  speak  to  the 
minister  about  it.  (Comes  down  R.  c.) 

MRS.  BASCOM  (Comes  front  of  well)  What  did 
he  say  ? 

TILLINGER.    Well,  Dr.  Hill's  a  young  minister — 

MRS.  BASCOM.    But,  what  did  he  say? 

TILLINGER.  Said  he  was  glad  to  hear  it,  and  he'd 
be  there.  (Goes  above  table) 

MRS.  BASCOM.  (Seeing  KATIE  arranging  tray) 
Mercy  sakes,  Katie  what's  that  ? 

KATIE.  (Has  finished  arranging  table)  Coffee, 
ma'am — Mr.  Martin  told  me  to  put  it  out  here  after 
I  served  the  dessert.  (KATIE  exits  to  kitchen) 

TILLINGER.    That  Sam  Martin's  lost  his  wits. 

MRS.  BASCOM.  (Laughing  as  she  sits  on  weW) 
If  he  has,  he's  doin'  real  well  without  'em 

TILLINGER.  (Coming  down  R.  c.)  Oh,  he's  as 
smart  as  they  make  'em  about  business — I  mean  aH 
these  foolish  notions  he's  got  into  his  head.  'Twas 
his  idea  havin*  this  dinner  at  night  time,  wasnt  it? 

MRS.  BASCOM.  Oh,  yes,  he  knew  that  Elsie  and 
Joe'd  be  back  tp-day  from  their  honeymoon,  aawi 
'bout  four  o'clock,  up  he  drove  in  his  big  automob^e 
— with  a  man  cook  and  the  greatest  lot  of  truck — • 
and  he  said  he  was  going  to  give  'em  a  dinner  hei*@ — 

TILLINGER.    Well,  I  swan! 

MRS.  BASCOM.    He  brought  another  gentlemen,  aM 


TURN  TO  THE  RIGHT.  113 

Pressed  up,  to  wait  on  table — but  I  knew  that  would 
hurt  Katie's  feelin's. 

TILLINGER.  Well,  it  was  a  mighty  stylish  dinner 
— if  eatin'  all  them  vitals  at  night  don't  kill  us* 
And  now,  coffee — in  them  little  cups !  What  be  we 
all  comin*  to!  (He  helps  himself  to  a  cup) 

MRS.  BASCOM.  Don't  the  bride  and  groom  look 
well  and  happy ! 

TILLINGER.  (Busy  with  coffee — puts  in  three 
lumps  of  sugar)  Yes,  they  do.  Seems  like  Elsie's 
been  gone  a  year. 

MRS.  BASCOM.  Why,  it  ain't  a  month  yet.  They 
was  married  three  weeks  ago  Wednesday. 

TILLINGER.  (About  to  sip  coffee — then  offers  it 
to  MRS.  BASCOM  )  Won't  you  have  some  ? 

MRS.  BASCOM.  Why,  Deacon — I  wouldn't  sleep 
a  wink. 

TILLINGER.  That  pin  shows  off  good  on  you. 
Real  diamonds,  Elsie  says.  (He  inspects  MRS. 
BASCOM 's  bar-pin) 

MRS.  BASCOM.  Yes,  I  hate  to  think  what  it  cost 
*  em — and  what  a  nice  present  you  got ! 

TILLINGER.  (Holding  up  cane)  Yes,  'tis — but  I 
ain't  feeble  enough  to  need  it  yet — thank  the  good 
Lord !  (Puts  cup  on  tray) 

(CALLAHAN  enters  from  below  house  as  DEACON'S 
back  is  turned.) 

CALLAHAN.  (Doubtfully)  Mr.  Tillinger?  (Rec» 
egnises  MRS.  BASCOM  and  crosses  to  her)  Oh,  Mrs. 
Bascom — Good-evening 

(MRS.  BASCOM  rises.) 

TILLINGER.  (R.  of  CALLLHAN)  Why,  if  it  ain't 
tbe  detective ! 

MRS.  BASCOM.  (Shakes  hands,  is  L.  of  CLLAHAN) 
Of  course,  it's  Mr.  Callahan !  Well,  this  is  a  sur 
prise! 


1 14  TURN  TO  THE  RIGHT. 

CALLAHAN.  I  didn't  recognize  your  place  at  first 
— walked  right  by  it — you've  done  a  lot  of  improvin* 
since  I  was  here. 

MRS.  BASCOM.    Land  yes — Joe  has. 

CALLAHAN.  Well,  Deacon?  Lost  any  money 
lately  ? 

DEACON.  Oh!  Joe  told  me  all  about  that, 
smartest  trick  I  ever  heard  of.  Made  me  like  them 
boys  from  the  minute  I  found  it  out. 

CALLAHAN.  So  the  Deacon  and  your  son  are 
friends. 

DEACON.    Friends!    Why,  I'm  his  father-in-law. 

CALLAHAN.  Yes  I  know  that.  (DEACON  goes  up 
R.  c.)  Well,  I  want  to  see  Mr.  Bascom  on  a 
little  matter  of  business — (MRS.  BASCOM  looks  at 
him}  Oh,  don't  worry,  ma'am,  it's  nothing— er — 
professional. 

MRS.  BASCOM.  They're  all  in  the  dining  room. 
(She  crosses  and  goes  up  on  porch,  DEACON  goes 
up-stag e)  Won't  you  come  right  in? 

CALLAHAN.  No,  thanks.  I'd  rather  see  him  alone 
first.  (Going  to  porch)  Suppose  I  step  into  the 
kitchen  and  you  tip  him  off  I'm  here. 

MRS.  BASCOM.  (Going  to  kitchen  door)  Why 
certainly,  if  you  want  to 

TILLINGER.  I'll  go  around  to  the  dining  room  and 
tell  him. 

CALLAHAN.  (To  TILLINGER)  Thanks — and  tell 
him  on  the  quiet.  (TILLINGER  exits  above  house. 
To  MRS.  BASCOM)  After  you — (He  follows  MRS. 
BASCOM  into  house) 

(The  door  remains  open.) 

TILLINGER.  (Off)  Joe!  I  got  somethin'  to  tell 
you 

SAM.  (Impatiently  as  he  enters  above  house) 
Oh,  come  on,  now !  Come  on,  Joe ! 


TURN  TO  THE  RIGHT.  115 

JOE.    (Off)    In  a  minute,  Sam. 

(MUGGS  and  GILLY  enter  around  veranda.  MUGGS 
and  GILLY  are  in  evening  clothes — SAM  dressed 
in  the  height  of  fashion — large  white  "  button- 
hole",  latest  shirt ;  collar,  tie  and  waistcoat.) 

MUGGS.    (Dozvn  by  well)    What's  the  idea? 

(  GILLY  looks  the  table  over,  then  comes  down  right 
of  it.) 

SAM.  (Takes  cigar)  This  is  the  right  way,  I  tell 
you.  After  dinner  all  the  gentlemen  and  ladies  ought 
to  separate.  Us  gentlemen  ought  to  have  cigars  and 
coffee  by  ourselves — and  then  pretty  soon  join  'era 
again. 

GILLY.    When  do  we  do  that  ? 

SAM.  (Disgustedly)  Oh,  I'll  let  you  know.  It's 
when  I  say  "  Supposin'  we  join  the  ladies."  (Stand 
ing  above  table)  Help  yourselves  to  cigars. 
( MUGGS  and  GILLY  each  attempt  to  take  a  handful. 
SAM  snatches  the  box  away)  No,  take  one  apiece. 
(He  looks  at  them  discouraged)  My  God,  (Crossing 
to  L.  c. )  but  you're  provincial ! 

MUGGS.    We're  what  ? 

SAM.  Provincial.  You  don't  know  how  to  act 
right.  They  wouldn't  know  what  to  make  of  you 
two  at  one  of  Henry  W.  Parker's  dinners.  (SAM 
lights  cigar  with  pocket  lighter  which  he  carries. 
GILLY  lights  cigar  with  match  from  tray) 

MUGGS.  And  you're  pullin'  off  this  dinner  the 
way  they  do  at  Parker's,  are  you? 

SAM.  (Crossing  to  table  and  draws  cup  of  coffee) 
'S  near's  I  can.  But  it's  hard  to  do  anything  right 
with  a  couple  of  rubes  like  you.  (  MUGGS  sits  at 
well.  SAM  offers  him  a  cup  of  coffee)  Coffee? 

MUGGS.  (Looking  at  cup)  Can  you  spare  that 
much? 


;ii6  TURN  TO  THE  RIGHT. 

SAM.  Oh,  go  on,  take  it !  (Muccs  does  so.  SAM 
draws  another  cup.  To  GILLY.  Using  society  man" 
ners)  Demi  tasse,  old  boy? 

GILLY.    What? 

SAM.    (Angrily)    Do  you  want  some  coffee? 

GILLY.    Sure. 

SAM.    (Offering  him  cup)    Well,  here. 

( GILLY  takes  it.     MUGGS,  who  has  finished  his, 
rises  and  holds  cup  out  for  more.) 

MUGGS.    Next ! 

(SAM  refills  his  cup  and  hands  it  to  him.) 

GILLY.    It's  all  right,  ain't  it? 
MUGGS.     It's  swell.     ( MUGGS  goes  to  well  and 
seats  himself.    He  leaves  his  cup  on  well  later) 

(GiLLY  holds  out  his  empty  cup.) 

SAM.  Oh,  wait  a  minute,  now — 'till  I  get  some 
for  mysef.  (Helps  himself)  The  next  dinner  I 
give,  I'll  have  your  coffee  put  in  a  troff ! 

(JoE  enters  from  kitchen.) 

JOE.  (Crossing  to  L.  of  SAM)  Excuse  my  being 
late,  Mr.  Martin — I  was  detained  on  a  little  matter 
of  business.  Oh,  thank  you !  (He  takes  cup  from 
SAM) 

( MUGGS  puts  cup  on  well  and  lights  cigar.) 

SAM.  (Draws  another  cup)  But  business  mai 
lers  and  dinners  don't  go  together. 

JOE.  He  knows,  boys.  He's  getting  to  be  one  of 
the  leaders  of  society. 


TURN  TO  THE  RIGHT.  117 

SAM.  (Crossing  to  L.  of  well,  takes  cup  with  him) 
And  it  isn't  so  easy  getting  into  society  as  you'd 
think.  The  Parkers  never  could  have  got  me  in  only 
every  one  I  met  said  I  was  so  amusing — and  now 
I'm  being  invited  everywhere. 

MUGGS.     (Rising)     Oh,  quit  boosting  yourself. 

(MRS.  BASCOM  enters  from  kitchen.  SAM  puts  cup 
on  well.  MUGGS  goes  L.  of  SAM.  JOE  puts  cup 
on  tray.) 

MRS.  BASCOM.  (As  she  enters)  Your  visitor  is 
having  some  supper,  Joe.  He's  got  to  go  back  to 
New  York  to-night  and  I  thought  (Crosses  to 
SAM,  who  is  R.  of  MUGGS.  JOE  is  R.  of  his  mother, 
and  GILLY  is  R.  of  JOE)  Sammie  might  take  him  in 
his  automobile. 

SAM.    Delighted,  I'm  sure. 

JOE.    That's  fine,  dear. 

MRS.  BASCOM.    It's  been  a  lovely  dinner,  Sammie. 

SAM.  Glad  you  liked  it.  And  we  can  all  afford 
to  have  dinners  like  that  every  night  of  our  lives • 

JOE.  Yes,  look  at  these  four  successful  men, 
Little  Lady.  Who  do  you  suppose  they  owe  it  to? 

MRS.  BASCOM.  (Laughing)  You're  going  to  say 
it's  because  I  always  see  the  jam  in  the  making — 
When  I  know  you  only  let  me  do  it  just  to  please 
me. 

SAM.    Don't  you  believe  it ! 

MRS.  BASCOM.  Nonsense,  Sammie!  Anyone  can 
make  it — the  only  difference  is  that  I  put  in  a  little— 

JOE.    (Interrupting)    Mother!    That's  a  secret ! 

MRS.  BASCOM.    What  do  you  mean,  Joe  ? 

JOE.  (Putting  his  arm  about  her)  I  mean  you 
put  something  into  every  jar  of  that  jam — something 
you  don't  know  about  yourself,  I  guess.  And  if  you 
do,  you  mustn't  tell — or  every  boy's  mother  might 
do  the  same  thing. 


,ii8  TURN  TO  THE  RIGHT. 

MRS.  BASCOM.  (Kissing  him)  What  a  boy  yoi 
are!  (Crossing  to  porch)  Don't  forget,  Sammic, 
and  start  off  without  your  passenger. 

SAM.    No,  ma'am. 

(MRS.  BASCOM  exits  into  kitchen.) 

JOE.  Say,  where Js  Betty's  car?  I  thought  your 
chauffeur  was  going  to  bring  ft  over  here. 

SAM.  He  was.  It's  time  he  was  here  now. 
(Takes  out  watch  in  chamois  skin  case)  Betty 
doesn't  know  about  it  yet,  does  she  ? 

JOE.    Not  yet. 

SAM.  Wait  until  she  sees  it.  Say,  I  want  to 
thank  you  again  for  this  watch,  Joe.  Hear  it  strike ! 
(Holds  it  up  to  MUGG'S  ear) 

MUGGS.    What  do  you  think  of  that  ? 

SAM.  You  and  Elsie  came  home  loaded  with 
presents  for  everybody  just  as  though  it  was  Christ 
inas.  Now,  supposin'  we  join  the  ladies ! 

(BETTY,  ELSIE  and  JESSIE  enter  from  above  house. 
SAM  starts  up  R.  of  well.  Sees  them  coming 
and  comes  down  L.  of  well.  JOE,  GILLY  and 
MUGGS  also  start  to  go.) 

MUGGS.  (Coming  back)  It's  workin*  wrong 
again,  Sam — they're  comin'  to  join  us.  ( MUGGS 
puts  cigar  on  well) 

BETTY.    What  became  of  you  all? 

ELSIE.  (Going  to  MUGGS  then  crosses  to  GILLY) 
Oh,  they're  talking  money  and  business  as  they  al 
ways  do 

MUGGS.  Well,  money  don't  make  a  bad  topic 
when  you've  got  some. 

(All  begin  talking  in  groups — MUGGS,  BETTY  and 
SAM,  L.  of  well.  GILLY  and  ELSIE,  R.  c.  JOE 
and  JESSIE,  c.) 


TURN  TO  THE  RIGHT. 

SAM.    You  are  looking  quite  charm-  " 
ing  to-night,  Betty. 

BETTY.  Oh,  thank  you.  It  was  a 
perfectly  lovely  dinner. 

MUGGS.  He's  showin'  us  how  the 
four  hundred  eat. 

JESSIE.  I  want  to  thank  you  again 
for  my  beautiful  bracelet,  Joe. 

JOE.  I  knew  you'd  like  it — Elsie 
picked  it  out. 

ELSIE.  I'm  so  glad  you  could  give 
Joe  such  splendid  reports  of  the  busi 
ness. 

GILLY.  It  was  up  to  us  to  show  him 
he  could  get  away  once  in  a  while. 


119 


(Spoken 
"  together.) 


(KATIE  enters  through  kitchen  door.) 

KATIE.  Mr.  Martin,  Mr.  Martin,  your  chauffeur 
is  asking  for  you. 

SAM.    Is  he  out  in  front  of  the  house. 

KATIE.  Yes,  sir.  (KATIE  gets  cups  from  well, 
removes  tray,  etc.  She  exits  to  kitchen) 

SAM.  Supposin'  we  all  go  out  there — Joe's  got 
somethin*  to  show  you.  (Offers  BETTY  his  arm) 
Allow  me,  Betty. 

BETTY.    Oh,  what  is  it?  ^ 

SAM.  Another  of  Joe's  surprises I  (Spoken 

JESSIE.    Perhaps  it's  fireworks >  together.) 

GILLY.     (To  JESSIE)     Can  I  show  ! 
you  the  way?  J 

ELSIE.  (As  she  exits  on  veranda)  Come  along, 
Joe. 

JOE.  In  a  minute,  dear.  (Catches  GILLY  by  coat 
sleeve)  Gilly!  ( MUGGS  has  started  after  BETTY 
and  SAM  who  have  gone  up  L.  of  well  to  exit* 


120  TURN  TO  THE  RIGHT. 

Muggs,  I  want  to  see  you  two  a  minute.  (SAM 
and  BETTY,  JESSIE  and  ELSIE  exit  together,  above 
house  talking  and  laughing)  I  didn't  bring  a  present 
for  you  guys.  (JoE  is  c.  MUGGS  is  on  his  L.  and 
GILLY  his  R.) 

MUGGS.    Say,  don't  Joe 

GILLY.     You're  givin'  us  more 

JOE.  (Breaking  in)  But  I  thought  you  might 
like  a  picture  to  remember  me  by.  (He  feels  in  his 
pocket) 

MUGGS.    I  should  say  I  would! 
GILLY.    Did  you  have  'em  taken  while  you  was 
away? 

JOE.  (Handing  photo  to  GILLY)  Here's  yours, 
Gilly.  (Handing  one  to  MUGGS)  And  here's  yours. 

( MUGGS  and  GILLY  start  as  they  recognise  photos.) 

GILLY.    Joe ! 

MUGGS.    God,  Gilly  it's  us ! 

GILLY.    From  the  rogues  gallery. 

MUGGS.    Sure — with  the  number  and  everything— 

GILLY.    Joe — how'd  you  get  'em  ? 

JOE.    Oh,  a  pinch  of  salt  and  Callahan. 

GILLY.    Callahan  ? 

JOE.  Yes,  and  he  had  some  job — wouldn't  take 
a  cent,  either. 

MUGGS.  Say,  Old  Pal — (With  tears  in  his  voice) 
—I'm  going  to  remember  you  for  this  right  up  to 
my  time  for  "  Lights  out  ". 

GILLY.    That  goes  for  me  too,  Joe. 

(MUGGS  and  GILLY  put  pictures  in  their  pockets. 
BETTY  rushes  on  from  above  house,  wild  w&h 
excitement.  GILLY  goes  R.  MUGGS  L.) 

BETTY.  Joe! — Joe — Oh,  it's  beautiful — And  the 
man  says  I  can  learn  to  drive  it  in  no  time! — Oh, 


TURN  TO  THE  RIGHT.  121 

Joe,  you're  just  a  darling — I — I — Oh,  Joe — !  (She 
throws  her  arms  around  him,  and  bursts  out  laugh 
ing  and  crying) 

JOE.  (Petting  her)  Did  you  see  your  initials  on 
it? 

BETTY.    Are  they?    Where? 

JOE,    On  the  doors. 

(BETTY  rushes  back  above  house f  calling ) 

BETTY.  Maw!  Maw! — (MRS.  BASCOM  comes 
onto  veranda  from  kitchen)  I  got  a  new  automobile ! 
— It's  a  run-around ! — And  it's  got  wire  wheels  and 
everything.  Hurry,  Maw,  I  want  to  look  at  my 
initials!  (BETTY  dashes  off  above  house,  the  boys 
go  to  JOE — he  is  between  MUGGS  and  GILLY  at  well. 
MRS.  BASCOM  hurries  from  veranda  after  BETTY) 

MUGGS.    That's  sure  being  some  happy,  Joe ! 

JOE.  (Smiling)  I've  felt  like  yelling  that  way 
ever  since  I  was  married — (  MUGGS  and  GILLY  look 
away)  I  tell  you  it's  wonderful  when — when — • 
Oh! — Say,  boys,  do  you  remember  what  you 
promised  me  when  we  went  into  business  together? 

MUGGS.    About  Betty? 

GILLY.    And  Jessie? 

JOE.    Yes. 

GILLY.    And  we've  stuck  to  it,  Joe. 

MUGGS.  Sure,  we  have.  We  bought  two  engage 
ment  rings  six  months  ago — but  we  never  said 
nothin'  about  'em. 

SIE.    Well,  that  promise  is  off. 
UGGS.    Off ! 

GILLY.    Do  you  mean  it? 
JOE.    You  agreed  to  say  nothing  until  you'd  made 

good 

MUGGS.  You  think  we  have  made  good,  Joe, 
honest? 

JOE.  If  two  fellows  ever  made  good,  you  have. 
(Goes  up  R.  c.) 


122  TURN  TO  THE  RIGHT. 

GILLY.  I  ain't  missed  Sunday  school  in  forty 
weeks.  (Goes  up  towards  JOE) 

JOE.  I'll  see  if  I  can  find  them  for  you — (JoE 
exits  above  house) 

GILLY.  (Coming  back  to  MUGGS)  There's  some 
kid! 

MUGGS.    And  he's  got  some  sister ! 

GILLY.    And  she's  got  some  friend! 

MUGGS.    And  now  we  can  ask  'em. 

GILLY.    And  we've  both  got  bank  accounts. 

MUGGS.    And  we  got  'em  on  the  level. 

GILLY.    And  our  mugs  ain't  in  the  rogues  gal» 


MUGGS.    Dudley ! 
GILLY.    Lucius ! 

(They  shake  hands.) 

MUGGS.  Joe's  lookin'  for  the  girls.  They'll  be 
here  in  a  minute. 

GILLY.  (Frightened)  Can't  we  both  ask  'em 
together? 

MUGGS.    What  do  you  mean? 

GILLY.  Somehow,  I  don't  like  the  idea  of  being 
alone  when  I  ask  Jessie 

MUGGS.    Afraid  ? 

GILLY.    Scared  stiff ! 

MUGGS.    Me,  too.    Got  your  ring? 

GILLY.  It's  up  in  the  room.  (Starts  to  kitchen 
door)  I'll  go  up  and  get  it. 

MUGGS.    (Turns  L.)    Bring  mine  down  too. 

GILLY.  Sure.  (Comes  back)  I  think  111  send 
mine  to  Jessie  with  a  note. 

MUGGS.  (Comes  back  to  GILLY)  Oh,  you  can't 
propose  to  a  girl  that  way.  I  wouldn't  mind  askin* 
Jessie 

GILLY.  I  wouldn't  mind  askin'  Betty!  (With 
sudden  idea)  Say,  Muggs — would  you— do  that 
for  me? 


TURN  TO  THE  RIGHT.  123 

MUGGS.    Do  what?    Ask  Jessie? 

GILLY.    I'd  do  the  same  for  you. 

MUGGS.    (Sees  JESSIE  coming  above  house)  Ssh! 

JESSIE.  (To  GILLY  as  she  comes  doivn  R.  of  him) 
Joe  asked  me  to  bring  Betty  out  here — but  she's  off 
in  her  car.  It's  the  cutest  thing!  And  she's  just 
wild  about  it. 

GILLY.  (Unable  to  speak  at  first)  Jessie,  I — !— 
Excuse  me — I  want  to  get  something — (  GILLY  exits 
into  house) 

MUGGS.  Jessie — (She  turns  to  him)  How 
would  you  like  to — to — er — sit  down? 

JESSIE.    Oh,  I  ain't  tired ! 

MUGGS.    But  I  want  to  ask  you  something. 

JESSIE.    Oh !     (Sits  right  of  well) 

MUGGS.  Have  you  ever  thought  about  getting 
jnarried  ? 

JESSIE.  (Surprised — looks  front)  Why— of 
course  I  have. 

MUGGS.     Ever  thought  you  would? 

JESSIE.  You  don't  think  I  want  to  die  an  old 
maid,  do  you  ? 

MUGGS.  No,  sure  you  don't!  (Sits  beside  her) 
Jessie,  would  you — will  you —  ? 

JESSIE.  Why,  Lucius! — I — thought  you  were  in 
love  with  Betty!  (Rising)  I  couldn't  marry  you. 

MUGGS.  (Rising)  I  don't  want  you  to  marry 
me — I'm  askin'  you  for  Gilly, 

JESSIE.    You're  what? 

MUGGS.    Yes,  he  made  me  promise  him  I  would. 

JESSIE.  Well,  of  all  the  meanest  things — I'll  never 
speak  to  him  again  as  long  as  I  live — (She  rushes  off 
above  house) 

MUGGS.  (Calling  after  her)  Jessie — wait  a 
minute — listen — (He  sits  doivn  by  well,  looking  front 
hopelessly.  GILLY  carefully  comes  to  door  and 
peeks  out.  He  sees  MUGGS  alone) 

Doming  to  R.  of  MUGGS)    Did  you  fix  it? 


124  TURN  TO  THE  RIGHT. 

MUGGS.    Yes,  I  fixed  it. 

GILLY.    Which  way  did  she  go? 

MUGGS.    That  way.    (Pointing  above  house) 

( GILLY  starts  after  her — stops.) 
GILLY.    Here  comes  Betty.    Blow — quick — ! 
(MUGGS  rises.     GILLY  tries  to  push  him  off  L,) 

MUGGS.    Blow  yourself. 

GILLY.  But  you  fixed  it  for  me,  now  I  want  to 
fix  it  for  you. 

MUGGS.  I'll  do  my  own  fixin* — beat  it — get  outt 
(Pushes  GILLY  to  L.) 

(BETTY  enters  above  house.) 

BETTY.  (Comes  down  R.  c.  Sees  boys)  Jessie 
wants  to  see  you,  Dudley.  You  better  go  right  away. 
She's  awful  mad  about  something 

GILLY.  (Goes  up  L.  of  well,  starting  off  above 
house)  Thanks ! 

MUGGS.  (Suddenly — running  to  him  up  R.  c.) 
Say,  wait  a  minute!  (GILLY  stops)  Did  you  get 
that? 

(BETTY  goes  L.  of  well.) 

GILLY.  Eh  ?— Oh  !— Here — (Hands  MUGGS  ring 
in  "box,  then  exits  quickly) 

(  MUGGS  takes  ring  from  box,  then  puts  box  in 
pocket.  Keeps  ring  in  hand.  BETTY  does  not 
see  it.) 

BETTY.    JVhy  didn't  you  come  to  sec  my  car, 

Lucius? 


TURN  TO  THE  RIGHT.  125 

MUGGS.  I  was  detained.  (He  holds  ring  in  right 
hand  by  his  side.  Looks  at  it  meaningly,  then 
breathes  on  it,  and  rubs  it  on  his  coat  sleeve,  BETTY 
sees  the  ring)  Betty  I  got  something  terrible  im 
portant  to  say  to  you. 

(ELSIE  and  JOE  come  on  from  below  house.) 

SE.    (Seeing  them)    Hello! 
UGGS.      (Takes   BETTY'S   hand  and  draws  it 
'through  his  arm)    Will  you  take  a  little  walk  in  the 
orchard,  Betty? — (To  ELSIE  and  JOE)    Excuse  us 
a  minute 

(BETTY  and  MUGGS  exit  to  orchard.  ELSIE  goes  to 
c.  of  well,  JOE  close  to  her.) 

JOE.  (R.  of  ELSIE)  I  guess  they  don't  want 
anyone  around  just  now. 

ELSIE.    We  didn't. 

JOE.    Happy  ? 

ELSIE.  (Looks  up  at  him,  smiling)  Isn't  if  a 
wonderful  world! 

JOE.    (Turning  her  head  up  R.  c.)    Look! 

ELSIE.  (Looking  at  house  on  the  hill,  up  &  j&jj 
Home! 

JOE.    Home!  Isn't  it  a  wonderful  word! 

'(MRS.    BASCOM    comes    from    above  \house   m 
veranda.) 

MRS.  BASCOM.  (R.  of  JOE)  Joey — Sammy  and 
Mr.  Callahan  are  waiting  to  say  good-night  to  you 
They're  out  in  the  automobile. 

JOE.  Well,  we'll  go  and  say  good-night  to  them, 
and  well  get  Sam  to  drive  us  over— (Looking  at 
ELSIE)  Over — ? 

ELSIE.     (Smiling  at  him)    Home!    (He  kisses 
her) 
.    JOB.   r(Goes  to  her)   Good-night,  mother! 


126  TURN  TO  THE  RIGHT. 

MRS.  BASCOM.   Good-night,  boy !    (He  kisses  her) 
ELSIE.    (Goes  to  mother)    Good-night,  mother. 
MRS.  BASCOM.    Good-night,  darling !    (She  kisses 
her) 

(ELSIE  goes  to  JOE  up  R.  c.) 

JOE.     (Starting  above  house  with  ELSIE)     Oh, 
Sam — give  us  a  lift  home,  will  you? 
SAM.    (Away  off-stage)    Delighted,  I  assure  you. 

(MRS.  BASCOM  looks  after  them  as  they  exit.   GILLY 
and  JESSIE  enter  quickly  below  house.) 

JESSIE.  Oh,  Mrs.  Bascom — I  want  to  show  you 
something.  (JESSIE  meets  MRS.  BASCOM  center — 
shows  her  engagement  ring — GILLY  grining  and 
looking  on) 

MRS.  BASCOM.  Oh,  my  dears,  I'm  so  glad !  '(As 
MRS.  BASCOM  is  about  to  kiss  JESSIE,  MUGGS  and 
BETTY  enter  from  the  orchard — quickly) 

BETTY.  Maw! — Maw! — Look!  (Shows  MRS. 
BASCOM  her  engagement  ring) 

MRS.  BASCOM.     (Kissing  her)    My  darling  girl! 

JESSIE.  (Crossing  to  BETTY — MUGGS  crosses  at 
back  to  E.  of  GILLY)  Oh,  let's  see!  (Looks  at 
BETTY'S  ring)  See  mine !  (Shows  it  to  BETTY) 

BETTY.    Jessie ! 

JESSIE.   Betty! 

'(They  embrace  and  reverse  positions.} 

MUGGS.    Dudley ! 

GILLY.    Lucius!    (They  embrace) 

MUGGS  and  GILLY.   Mother ! 

'{Auto  starts.    Stops  at  house.    After  count  of  five, 
the  lower  windows  are  lighted.) 


TURN  TO  THE  RIGHT.  127 

MRS.  BASCOM.  (Coming  between  them)  Boys — ! 
(She  has  an  arm  around  each  of  them — then  each 
kiss  her  on  the  cheek) 

JESSIE.  (After  lower  windows  are  lighted.  Count 
five  then  auto  starts  from  house  to  L,)  Dudley 

GILLY.  (Crossing  to  her)  I'm  going  to  take  her 
home 

JESSIE.  (Taking  his  arm)  Let's  go  through  the 
orchard 

( GILLY  and  JESSIE  start  toward  orchard.) 
MUGGS.    Oh,  Dudley.    Don't  hurry  back ! 

(Bell  strikes  10  o'clock.) 
GILLY.    Don't  worry! 

(JESSIE  and  GILLIE  exit  to  orchard.  As  auto  passes 
bushes,  lights  go  out  in  lower  windows.) 

BETTY.  (Going  up  L.  of  well  with  MUGGS)  We'll 
sit  on  the  piazza  a  litle  while.  (Light  window  up 
stairs.  Count  five  and  slowly  draw  down  the  shade. 
This  is  timed  so  that  as  soon  as  MUGGS  and  BETTY 
cross  to  house  the  shade  is  lowered) 

MRS.  BASCOM.    (Smiling)    As  long  as  you  like — 

(BETTY  and  MUGGS  exit  above  house.  As  shade 
comes  down,  MRS.  BASCOM  turns  front,  clasps 
her  hands  and  raises  her  eyes  toward  heaven.) 

CURTAIN. 


128  TURN  TO  THE  RIGHT. 

APPENDIX. 

PROLOGUE. 

HAND  PROPS. 

ON  COUNTER. 

Joe's  coat.    (Under  counter) 

Shawl. 

Pawn  ticket  pinned  to  shawL 

Doll 

Wrapping  paper. 

Rubber  bands. 

Chalk. 
ON  REPAIR  TABLE  L. 

Old  pressing-  cloth. 

Pressing  board. 

Iron  holder  and  iron. 

Pipe  attached  to  iron. 

Small  pressing  cloth. 

Needles,  thread  and  thimbKe. 

Chalk,  etc. 
HANGING  BACK  OF  CURTAIN  C. 

Blue  serge  suit. 

Check  suit. 

Several  other  suits. 
OFF-STAGE  L.  c. 

Bottle  of  whiskey. 
OFF-STAGE  L.  i  E. 

JOE'S  blue  serge  vesf 

A  duplicate  pair  of  cheeked  trousers  with  $ic 

bill  in  pocket 
MONEY. 

ISADORE— 4-$x  bills,  2  quarters. 


TURN  TO  THE  RIGHT.  129 

LIGHTING— PROLOGUE, 
(At  rise.) 


FOOTS. 

Blue  up  full. 

Amber  down  to  limit. 

Frosted  white  enough  to  tone  the  blue. 
FIRST  BORDER. 

Blue  y2  up. 

Amber  J£  up. 
THIRD  BORDER. 

Blue  up  full. 

Pinks  Yt  up. 

(A  single  globe  in  entrance  L.) 

1000  WATT  LAMPS  ON  BACK  DROP. 

ON  L.  OF  STAGE. 

No.  3  Chocolate,  frost  and  blue. 

2  Pink — blinded. 

I  Blue. 

ON  R*  OF  STAGE. 
No.  4  Blue. 

5  Chocolate,  frost  and  blue 
ON  R.  OF  STAGE  THROWING  UP  AGAINST  SIDB 

BACKING. 
No.  6  Blue. 

7  Bunch  light — pink — %  blinded. 
AFTER  CURTAIN  is  w  "**  rp. 

Start  lights  very  slowly  up  to  marks.    The  first 

border  to  keep  ahead  of  foots. 
FOOTS. 

Blue  down  and  out. 

Aniber  up  to  ^ 


130  TURN  TO  THE  RIGHT. 

FIRST  BORDER. 

Blue — not  touched. 

Amber  up  to  J4  f  ulL 
THIRD  BORDER. 

Blue — not  touched. 

Pink  up  to  full. 
LAMPS  ON  DROP  AND  BACKING. 
No.  5  Put  blue  in  front  and  draw  of  C.  F.  B. 

2  When  No.  5  is  J4  off— draw  blinder. 

3  Follows  No.  2. 

4  Put  a  little  frost  in  to  lighten  drop. 
6  Put  a  little  frost  in  to  lighten  backing. 

All  lights  to  be  at  high  mark  when  GILLY  exits 
at  bade. 


ACT  I. 
HAND  PROP& 

ON  TABLE  c. 

Colored  apron.    (JESSIE) 

3  plates. 

2  cups. 

2  saucers. 

Cruet. 

Pitcher  of  milk. 

Knives. 

Forks. 

Spoons. 

Sugar  bowl. 
IN  DRAWER. 

Bottle  of  flavoring  extract 

White  table  cloth. 
ON  TABLE  AT  WINDOW. 

2  sticks  about  18"  long. 

2  tablespoons. 

Bowl  of  sliced 


TURN  TO  THE  RIGHT.  Ifl 

ON  CHAIR  AT  WINDOW. 

Red  table  cloth. 
AT  SINK. 

Pump,  practical. 

Wash  basin. 

Dish  pan  with  hot  water. 

Tin  quart  measure. 

Two  plates. 

Garbage  pail. 

Dish  cloth  and  wiping  cloth. 

A  wooden  cloth  hanger. 

Piece  of  soap. 
ON  FLOOR  AT  THE  CHIMNEY. 

Preserving  kettle  and  large  wooden  spoon. 
ON  SHELF  OVER  SINK. 

Mirror. 

Hair  comb  and  brush. 

Drinking  glass. 

Dish  of  soap. 

Two  vases  of  flowers. 
IN  CUPBOARD. 

Bucket  of  sugar  in  lower  section. 

Sugar  scoop  in  bucket. 
ON  FLAT  TOP. 

Plate  with  cut  lemon  and  squeezer. 

2  plates,  knives  and  forks     (For  MUGGS  and 

GILLY) 
IN  RIGHT  DRAWER  OF  CUPBOARD. 

Face  towels  and  dish  towels. 
IN  LEFT  DRAWER  OF  CUPBOARD. 

Knives,  forks,  spoons,  etc. 
UPPER  SECTION  OF  CUPBOARD. 

Jar  of  jam  and  spoon. 

Glass  with  spoons  in  it. 

Glasses,  dishes,  cups,  saucers,  etc. 
ON  SHELF  AT  CHIMNEY. 

Clock. 

2  lamps  with  paper  bags  on  chimneys. 


132  TURN  TO  THE  RIGHT. 

ON  SMALL  STAND  L. 

Bible  on  top  of  stand. 

Album  on  shelf. 

MRS.  BASCOM'S  work  basket  on  shelf. 

Spectacles  in  work  basket. 
IN  DRAWER. 

TILLINGER'S  bill. 
ON  SHELF  L. 

Whisk  broom. 

Vase  of  flowers. 
ON  HAT  RACK  R.  OF  DOOR  L.  c. 

Parasol 
ON  WALL  NEAR  SINK. 

Box  of  spice. 

Box  of  salt. 
ON  CHIMNEY. 

Several  nails  on  which  are  hung  pots,  pans,  etc* 

OFF-STAGS  L. 

Empty  jar  u.  E. 

2  prayer  books  at  IT.  E. 

1  prayer  book  at  parlor  entrance. 
OFF-STAGE  R. 

Basket  filled  with  jars  of  jam. 

Jar  of  chicken  broth. 

Large  kettle  filled  with  preserves.     (Smoking) 

2  kerosene  lamps  fitted  with  electric  batteries  in 

globes. 

Bundles  with  dol!  and  shawl  for  JOE. 
Fuller's  earth. 
FOOD  FOR  BOY'S  SUPPER. 

A  dish  of  potatoes  and  cream. 

Spoon. 

Broiled  chicken. 

Lettuce. 

Bread. 

Large  pitcher  of  mitt 


TURN  TO  THE  RIGHT,  133 


CUES  FOR  EFFECTS  OFF-STAGE. 

. . to  help  with  the  dishes. 

Clock  strikes  six. 

when  BETTY  turns  from  window 

after  TILLINGER'S  exit. 
Clock  strikes  one.     (6 : 30) 

sit  down,  fellows.     (BETTT 

opens  door) 
Effect  of  food  cooking  outside. 

Now  you  blow.    See. 

Church  bell  rings  continuous  until  curtain. 
CLOCK. 

5: 55  at  rise. 

help  with  the  dishes,  Jessie. 

6:00 — 

at  half  past  six. 

6:15- 

TILLINGER'S  exit 

6:30 _ 

Tiffany  food. 

6:45 

Will  you  kindly  open  the  door. 

6:55 


MONEY  FOR  ALL  ACTS. 

GILLY  receives  two  (2)  ten  and  two  (2)  five  dollar 

bills,  3-silver  half  dollars. 
TILLINGER  receives  two  (2)  ten  and  two  (2)  five 

dollar  bills. 
SAM  receives  four  (4)  ten  and  six  (6)  five  dollar 

bills. 
ELSIE  receives  two  (2)  ten  and  two  (2)  five  dollar 

bills. 


TURN  TO  THE  RIGHT. 

receives  four  (4)  one  dollar  bills  aad  two 

(2)  quarters.    (Prologue) 
JOE  receives  one  ( I )  five  dollar  bill. 
TILLINGER — Large  envelope  containing  two  deeds, 

check,  receipted  bill. 
5AM — Order  book  and  pencil. 


LIGHTING. 
ACT  I. 

(At  rise.) 
FOOTS. 

Ambers  %  up. 
FIRST  BRDER. 

Ambers  J4  up« 
FOURTH  BORDER. 

Pink  up  full. 

Blue  up  full. 
1000  WATT  LAMPS  ON  BACK  DROP. 

Numbers  commencing  at  flat  and  running  to 
drop. 

ON  R.  OF  s. — No.  i  Blue. 

2  Pink. 

3  Orange. 

4  Pink. 
ON  L.  OF  s. — No.  6  Pink. 

7  Pink. 

8  Blue. 

Baby  spot  in  first  border— pink,  covering  easychair 

and  stand.     (Comes  up  on  cue) 
Music — strip   amber    in    foots    to   light   up    MRS. 

BASCOM'S  face  when  she  sits  at  stand  to  read 

bible.     (Comes  up  on  cue) 
Baby  spot  from  L.  across  back  of  window  to 

JOE'S  face. 


TURN  TO  THE  RIGHT.  135 

2  oil  lamps,  students,  with  batteries,  etc. 

brings  them  on) 
A  single  globe  in  entrances,  R.  and  L. 


CUES. 

On  DEACON'S  first  entrance. 

Lights  start  slowly  down. 

Foots  and  1st  border  to  low  mark. 

4th  border — Blue  remains  up  full. 

Pink  comes  down  to  tone  blue. 
1000  WATT  LAMPS. 
No.  4  Blinded. 

2  " 

3  " 

i  Blind — leaving  an  opening  of  about  one  iadi 

7  Blind  with  No.  2. 
o  Follows  No.  7. 

8  Follows  No.  6. 

When  the  DEACON  makes  his 

first  exit. 
All  lights  are  down  to  their  low  marks,  except  a 

very  little  orange  is  left  in  No.  3. 

When  BETTY  leaves  the  window. 

The  orange  in  No.  3  blue  slowly  down  and  are 

out   by   time    MRS.    BASCOM   makes   her 

entrance. 
Darken  woodshed  entrance  before  BETTY  makes 

her  exit.    Turn  on  light  before  she  makes 

her  entrance. 

When  BETTY  enters  with  the 

two  oil  lamps. 
Foots  and  ist  border  come  to  y%  as  she  opens 

door.    Then  to  ^  as  she  walks  to  table  with 

the  lamps. 

, -As  MRS.  BASCOM  sits  in  easy- 
chair. 


136  TURN  TO  THE  RIGHT. 

The  music  strip  in  foots  comes  slowly  to  full. 
When  MRS.  BASCOM  rises  to  meet  JOE — Music 
strip  down  and  out. 

As  BETTY  brings  lamp  to  stand 

by  MRS.  BASCOM. 
The  baby  spot  in  ist  border  conies  up  to  %. 

—  After  BETTY  places  lamp  in 

window. 
No.  6  Blind  is  drawn  off,  leaving:  blue. 

O  »        99  >f  »  »  it 

j  99        »  99  99  99  99 

2  »»        »»  »  »  99  99 

When  ELSIE  enters. 

Foots  come  to  %. 

1st  border  comes  to  %.    (To  provide  more  light  lor 
the  comedy  scene  following) 


ACT  II. 
HAND  PROPS. 

OFF-STAGE  L.  3  E. 

Wheel  barrow.    12  baskets  of  peaches.    I  loose 

peach  to  go  on  last  load  of  peaches. 
OFF-STAGE  R.  ABOVE  HOUSE. 

Child's  wagon. 

6  empty  peach  baskets. 

I  empty  market  basket. 
OFF-STAGE  R.  IN  HOUSE. 

Broom  and  dust  pan. 

Small  tray  with  bottle  of  liniment,  cup  of  water 
and  small  towel. 

Empty  market  basket. 

Brown  paper  parcel.    (Meat) 

Small  watering  pot. 
OK  STEPS  OF  PORCH. 


TURN  TO  THE  RIGHT. 

Basket  of  filled  preserve  jars. 

Labels  in  box  or  saucer. 

Small  dish  with  water  and  small  sponge. 
ON  WELL. 

L.  of  well  on  the  curb — Bucket  and  ropft 

On  top  of  well  L. — drinking  cup. 
SAM— Bank  book. 

Fountain  pen. 

Pencil. 

An  agreement. 

Piece  of  paper  with  figures  on  it 


MONEY. 

SAM— 4-$io  bills,  6-$5  bills. 
ELSIE — 2-$io  bills,  2-$5  bills. 
DEACON— 2-$io  bills,  2-$5  bills. 
JOE—  i-$5  bill. 
GILLY— 3-silver  $j£. 


LIGHTS. 

FOOTS. 

Amber  and  blue  up  full. 
ALL  BORDERS. 

Pink,  frosted  white,  and  blue  up  fulL 
1000  WATT  LAMPS. 

On  L.  1st  E. — i  blue,  i  pink  and  blue. 
2nd  E. — 2  pink. 
3rd  E. — i  blue,  I  pink. 
4th  E. — i  blue,  I  pink. 
On  R.  Back  of  set  row,  on  floor — i  blue. 
Above  house — i  pink. 
Spots  in  fly  gallery  on  R. 
Back  of  ist  border — i  frost. 
Back  of  2nd  border — 2 — no  mediums. 


I38  TURN  TO  THE  RIGHT. 

STRIP  LIGHTS. 

On  L.  back  of  orchard  set  piece — I  blue.. 

On  L.  back  of  ground  row — i  blue. 

On  R.  back  of  keg  drop— I  blue. 
BABY  SPOTS. 

On  L.— first  entrance  (4)— 2  frost,  2 
pink. 

On  R.— first  entrance  (4)— 2  frost,  2 

pink. 
BUNCH  LIGHTS. 

Through  window  of  house — I  pink. 

Above  house — i  blue. 

NO  CHANGE  OF  LIGHT  DURING  ACT. 


ACT  III. 
HAND  PROPS. 

ON  STAGE. 

2  wicker  chairs  on  porch. 
i  wicker  table  on  porch. 

1  wicker  chair  R.  c.  on  lawn. 
OFF-STAGE  R.  IN  HOUSE. 

Tray — coffee  percolator. 

4  cups,  saucers,  and  spoons. 

Box  of  cigars,  cigarettes. 

Cigar  clipper. 

Bowl  of  lump  sugar  with  tongs. 

Matches  in  box. 
Gold  headed  cane. 

2  pictures. 

2  rings  in  boxes. 
Bell  to  strike  ten  o'clock. 
CUE Don't  worry.    (By  GILLY) 


TURN  TO  THE  RIGHT.  139 

LIGHTING. 
FOOTS. 

Blue  up  full — Amber  down  to  limit, 
ALL  BORDERS. 

Blue  up  full. 
1000  WATT  LAMPS. 
ON  L.  OF  STAGE. 

ist  Entrance— I  light  blue,  I  dark  blue. 
2nd  Entrance — I  light  blue,  I  dark  blue. 
3rd  Entrance — i  light  blue,  i  dark  blue. 
4th  Entrance — i  light  blue,  I  dark  blue. 
On  R. — back  of  set  row  on  floor. 

i  dark  blue. 
Above  house. 

i  light  blue. 
SPOTS  IN  FLY  GALLERY. 

Back  of  ist  border— I  light  blue. 
Back  of  2nd  border— 2  light  blue. 
BABY  SPOTS. 

L.  i  E. — 4  light  blue. 
R.  above  house— i  pink. 
R.  in  house — comes  through  door — I  pink. 
BUNCHES. 

Through  window  of  house — I  pink. 
Above  house — i  light  blue. 
STRIP  LIGHTS — Same  ast  ACT  II. 

CUES. 

When   CALLAHAN  exits  to 

house,  leaving  door  open. 
Amber  foots  come  up  y^. 

When  JOE  and  ELSIE  exit  above 

house. 
Amber  foots  down  and  out. 


I4o  TURN  TO  THE  RIGHT. 

FOR  AUTO  AND  LIGHTS  IN  HOUSE  ON  HILL. 

Mother — Boys. 

Auto  with  head  lights  and  rear  end  light  starts 

from  R. 

Stops  at  house. 

Count  5 — lower  windows  are  lighted. 
Count  5 — Auto  starts  downhill  to  L. 
As  it  passes  bush*  s,  turn  out  lights  on  lower 

floor. 
Sit  on  the  piazza  awhile — upper  window  is 

lighted. 

Count  5 — slowly  lower  the  shade. 
This  is  all  timed  so  that  as  MUGGS  and  BETTY  pass  by 
house  to  exit,  the  shade  starts  down. 


NOTHING   BUT   THE   TRUTH 

Comedy  in  3  acts.  By  James  Montgomery.  5  males, 
6  females.  Modern  costumes.  2  interiors.  Plays  2%  hours. 

Is  it  possible  to  tell  the  absolute  truth — even  for  twenty-four 
hours?  It  is — at  least  Bob  Bennett,  the  hero  of  "Nothing  but 
the  Truth,"  accomplished  the  feat.  The  bet  he  made  with  his 
partners,  his  friends,  and  his  fiancee — these  are  the  incidents  in 
William  Collier's  tremendous  comedy  hit.  "Nothing  but  tile 
Truth"  can  be  whole-heartedly  recommended  as  one  of  the  most 
sprightly,  amusing  and  popular  comedies  of  which  this  country 
can  boast.  (Royalty,  twenty-five  dollars.)  Price,  75  Cents, 

SEVENTEEN 

X  comedy  of  youth,  in  4  acts.  By  Booth  Tarkington. 
8  males,  6  females.  1  exterior,  2  interior  scenea.  Costumes, 
.modern.  Plays  2*/2  hours. 

It  is  the  tragedy  of  William  Sylvanus  Baxter  that  he  has  ceased 
to  be  sixteen  and  is  not  yet  eighteen.  Baby,  child,  boy,  youth 
and  grown-up  are  definite  phenomena.  The  world  knows  them  and 
tas  learned  to  put  up  with  them.  Seventeen  is  not  an  age,  it  is  a 
disease.  In  its  turbulent  bosom  the  leavings  of  a  boy  are  at  war 
with  the  beginnings  of  a  man. 

In  his  heart,  William  Sylvanus  Baxter  knows  all  the  tortures 
and  delights  of  love;  he  is  capable  of  any  of  the  heroisms  of  his 
lieroic  sex.  But  he  is  still  *ent  on  the  most  humiliating  errands 
by  his  mother,  and  depends  upon  his  father  for  the  last  nickel 
of  spending  money. 

Silly  Bill  fell  in  love  with  Lolo,  the  Baby-Talk  Lady,  a  vapid 
if  amiable  little  flirt.  To  woo  her  in  a  manner  worthy  of  himself 
(and  incidentally  of  her)  he  stole  his  father's  evening  clothes. 
"When  his  wooings  became  a  nuisance  to  the  neighborhood,  his 
another  stole  the  clothes  back,  and  had  them  altered  to  fit  the* 
tniddle-aged  form  of  her  husband,  thereby  keeping  William  afc 
tome  in  the  evening. 

But  when  it  came  to  the  Baby- Talk  Lady's  good-bye  dance,  not 
to  be  present  was  unendurable.  How  William  Sylvanus  again 
got  the  dress  suit,  and  how  as  he  was  wearing  it  at  the  party  the 
•negro  servant,  Genesis,  disclosed  the  fact  that  the  proud  garment 
•was  in  reality  his  father's,  are  some  of  the  elements  in  this 
charming  comedy  of  youth. 

"Seventeen"  is  a  story  of  youth,  love  and  summer  time.  It  is 
a  work  of  exquisite  human  sympathy  and  delicious  humor.  Pro 
duced  by  Stuart  Walker  at  the  Booth  Theatre,  New  York,  it  en 
joyed  a  run  of  four  years  in  New  York  and  on  the  road.  Strongly 
recommended  for  High  School  production.  (Royalty,  twenty-five 
dollars.)  Price,  75  Centg. 

SAMUEL  FRENCH,  25  West  45th  Street,  New  York  Citjr 
Our  New  Descriptive  Catalogue  Sent  Free  on  Request 


COME  OUT  OP  THE  KITCHEN 

A  charming  comedy  in  3  acts.  Adapted  by  A.  E.  Thomaa 
from  the  story  of  the  same  name  by  Alice  Duer  Miller, 
6  males,  5  females.  3  interior  scenes.  Costumes,  modern. 
Plays  2%  hours. 

The  story  of  "Come  Out  of  the  Kitchen"  is  written  around  a 
Virginia  family  of  the  old  aristocracy,  by  the  name  of  Dainger- 
field,  who,  finding  themselves  temporarily  embarrassed,  decide  to 
rent  their  magnificent  home  to  a  rich  Yankee.  One  of  the  con 
ditions  of  the  lease  by  the  well-to-do  New  Englander  stipulates 
that  a  competent  staff  of  white  servants  should  be  engaged  for 
his  sojourn  at  the  stately  home.  This  servant  question  presents 
practically  insurmountable  difficulties,  and  one  of  the  daughters 
of  the  family  conceives  the  mad-cap  idea  that  she,  her  sister  and 
their  two  brothers  shall  act  as  the  domestic  staff  for  the  wealthy 
Yankee.  Olivia  Daingerfield,  who  is  the  ringleader  in  the  merry 
scheme,  adopts  the  cognomen  of  Jane  Allen,  and  elects  to  preside 
over  the  destinies  of  the  kitchen.  Her  sister,  Elizabeth,  is  ap 
pointed  housemaid.  Her  elder  brother,  Paul,  is  the  butler,  and 
Charley,  the  youngest  of  the  group,  is  appointed  to  the  position  of 
bootboy.  When  Burton  Crane  arrives  from  the  North,  accom 
panied  by  Mrs.  Faulkner,  her  daughter,  and  Crane's  attorney. 
Tucker,  they  find  the  staff  of  servants  to  possess  so  many  methods 
of  behavior  out  of  the  ordinary  that  amusing  complications  begin 
to  arise  immediately.  Olivia's  charm  and  beauty  impress  Crane 
above  everything  else,  and  the  merry  story  continues  through  a 
maze  of  delightful  incidents  until  the  real  identity  of  the  heroine 
is  finally  disclosed.  But  not  until  Crane  has  professed  his  Jove 
for  his  charming  cook,  and  the  play  ends  with  the  brightest 
prospects  of  happiness  for  these  two  young  people.  "Come  Out 
of  the  Kitchen,"  with  Ruth  Chatterton  in  the  leading  role,  made 
a  notable  success  on  its  production  by  Henry  Miller  at  the  Cohan 
Theatre,  New  York.  It  was  also  a  great  success  at  the  Strand 
Theatre,  London.  A  most  ingenious  and  entertaining  comedy, 
and  we  strongly  recommend  it  for  amateur  production.  (Roya^y, 
twenty-five  dollars.)  f  Price,  75  Cents. 

GOING  SOME 

Play  in  4  acts.  By  Paul  Armstrong  and  Bex  Beach. 
12  males,  4  females.  2  exteriors,  1  interior.  Costumes, 
modern  and  cowboy.  Plays  a  full  evening. 

Described  by  the  authors  as  the  "chronicle  of  a  certain  lot  of 
college  men  and  girle,  with  a  tragic  strain  of  phonograph  and 
cowboys."  A  rollicking  good  story,  full  of  action,  atmosphere, 
comedy  and  drama,  redolent  of  the  adventurous  spirit  of  youth. 
(Royalty,  twenty-five  dollars.)  Price,  75  Cents. 


SAMUEL  FRENCH,  25  West  45th  Street,  New  York  City 
Our  New  Descriptive  Catalogue  Sent  Free  oa  Request 


ON  THE  HIRING  LINE 

Comedy  in  3  acts,  by  Harvey  O'Higgins  and  Harriet 
Ford.  5  males,  4  females.  Interior  throughout.  Costumes, 
teodern*  Plays  2y2  hours. 

Sherman  Fessenden,  unable  io  induce  servants  to  remain  f<H? 
any  reasonable  length  of  time  at  his  home,  hits  upon  the  novel 
expedient  of  engaging  detectives  to  serve  as  domestics. 

His  second  wife,  an  actress,  weary  of  the  country  and  longing 
tor  Broadway,  has  succeeded  in  discouraging  every  other  cook  and 
Sutler  against  remaining  long  at  the  house,  believing  that  by  00 
doing  she  will  win  her  husband  to  her  theory  that  country  life 
i>  dead.  So  she  is  deeply  disappointed  when  she  finds  she  cannot 
discourage  the  new  servants. 

The  sleuths,  believing  they  had  been  called  to  report  on  the 
actions  of  those  living  with  the  Fessendens,  proceeded  to  warn 
Mr.  Fessenden  that  his  wife  has  been  receiving  love-notes  from 
fiteve  Mark,  an  actor  friend,  and  that  his  daughter  has  been 
planning  to  elope  with  a  thief. 

One  sleuth  causes  an  uproar  in  the  house,  making  a  mess  of 
the  situations  he  has  witnessed.  Mr.  Fessenden,  however,  haa 
learned  a  lesson  and  is  quite  willing  to  leave  the  servant  problem 
to  ills  wife  thereafter.  (Royalty,  twenty-five  dollars.) 

Price,  75  Cent*. 


A  FULL   HOUSE 

A  fareieal  comedy  in  3  acts.  By  Fred  Jackson.  7  males, 
*7  females.  One  interior  scene.  Modern  costumes.  Time, 
2y2  hours. 

Imagine  a  reckless  and  wealthy  youth  who  writes  ardent 
love  letters  to  a  designing  chorus  girl,  an  attorney  brother- 
in-law  who  steals  the  letters  and  then  gets  his  hand-bag  mixed 
lip  with  the  grip  of  a  burglar  who  has  just  stolen  a  valuable 
necklace  from  the  mother  of  the  indiscreet  youth,  and  the 
efforts  of  the  crook  to  recover  his  plunder,  as  incidents  in 
the  story  of  a  play  in  which  the  swiftness  of  the  action 
never  halts  for  an  instant.  Not  only  are  the  situations  scream 
ingly  funny  but  the  lines  themselves  hold  a  fund  of  humor  at 
all  time<:.  This  newest  and  cleverest  of  all  farces  was  written 
by  Fred  Jackson,  the  well-known  short-story  writer,  and  iff 
backed  up  by  the  prestige  of  an  impressive  New  York  success 
and  the  promise  of  unlimited  fun  presented  in  the  most  attrac 
tive  form.  A  cleaner,  cleverer  farce  has  not  been  seen  for  many 
a  long  day.  "A  Full  House"  is  a  house  full  of  laughs.  (Royalty, 
twenty-five  dollars.)  Price,  75  Cents. 

SAMUEL  FRENCH,  25  West  45th  Street,  New  York  City 
Our  N«w  Descriptive  Catalogue  Sent  Free  on  Reaueat 


•MRS.  WIGGS  OF  THE 
CABBAGE   PATCH 

Dramatization  in  3  acts,  by  Anne  Crawford  Flexner  from 
the  novel  by  Alice  Hegan  Eice.  15  males,  11  females. 

1  interior,  1  exterior.    Costumes  modern  and  rustic.     Plays 
a  full  evening. 

A  capital  dramatization  of  the  ever-beloved  Mrs.  "Wiggs  and 
her  friends,  people  who  have  entered  the  hearts  and  minds  of  a 
nation.  Mrs.  Schultz  and  Lovey  Mary,  the  pessimistic  Miss  Hazy 
and  the  others  need  no  new  introduction.  Here  is  characteriza 
tion,  humor,  pathos,  and  what  is  best  and  most  appealing  in, 
modern  American  life.  The  amateur  acting  rights  are  reserved 
for  the  present  in  all  cities  and  towns  where  there  are  stock 
companies.  Royalty  will  be  quoted  on  application  for  those  cities 
and  towns  where  it  may  be  presented  by  amateurs. 

Price,  75  Cents, 

THE   FOUR-FLUSHER 

Comedy  in  3  acts.    By  Caesar  Dunn.     8  males,  5  females. 

2  interiors.    Modern  costumes.     Plays  2%  hours. 

A  comedy  of  hustling  American  youth,  "The  Four-Flusher1  f  is 
one  of  those  clean  and  bright  plays  which  reveal  the  most  appeal 
ing  characteristics  of  our  native  types.  Here  is  an  amusing  story 
of  a  young  shoe  clerk  who  through  cleverness,  personality,  and 
plenty  of  wholesome  faith  in  himself,  becomes  a  millionaire.  The 
play  is  best  described  as  "breezy."  It  is  full  of  human  touches, 
and  develops  a  most  interesting  story.  It  may  be  whole-heartedly 
recommended  to  high  schools.  (Royalty,  twenty-five  dollars.) 

Price,  75  Centi, 

PALS   FIRST 

Comedy  in  a  prologue  and  3  acts.  By  Lee  Wilson  Dodd. 
8  males,  3  females.  1  interior,  1  exterior.  Modern  cos 
tumes.  Plays  2Y2  hours. 

Based  on  the  successful  novel  of  the  same  name  by  P.  P. 
Elliott,  "Pals  First"  is  a  decidedly  picturesque  mystery  play. 
Danny  and  the  Dominie,  a  pair  of  tramps,  enter  a  mansion  and 
persuade  the  servants  and  friends  that  they  belong  there.  They 
are  not  altogether  wrong,  though  it  requires  the  intervention  of 
a  judge,  two  detectives,  a  villain  and  an  attractive  girl  to  un 
tangle  the  complications.  A  most  ingenious  play,  well  adapted 
to  performance  by  high  schools  and  colleges.  (Royalty,  twenty- 
five  dollars.)  Price,  75  Cents. 

SAMUEL  FRENCH,  25  West  45th  Street,  New  York  City 
Our  New  Descriptive  Catalogue  Sent  Fr«e  on  Request 


ARE  YOU  A  MASON? 

Farce  in  3  acts.  By  Leo  Ditrichstein.  7  males,  7  fe« 
males.  Modern  costumes.  Plays  2*4  tours.  1  interior. 

"Are  You  a  Mason?"  is  one  of  those  delightful  farces  like 
"Charley's  Aunt"  that  are  always  fresh.  "A  mother  and  a 
daughter,"  says  the  critic  of  the  New  York  Herald,  "had  hus 
bands  who  account  for  absences  from  the  joint  household  on 
frequent  evenings,  falsely  pretending  to  be  Masons.  The  men 
do. not  know  each  other's  duplicity,  and  each  tells  his  wife  of 
having  advanced  to  leadership  in  his  lodge.  The  older  woman 
•was  BO  well  pleased  with  her  husband's  supposed  distinction  in 
the  order  that  she  made  him  promise  to  put  up  the  name  of  a 
visiting  friend  for  membership.  Further  perplexity  over  the 
principal  liar  arose  when  a  suitor  for  his  second  daughter's  hand 
proved  to  be  a  real  Mason.  ...  To  tell  the  story  of  the  play 
•would  require  volumes,  its  complications  are  so  numerous.  It  ia 
a  house  of  cards.  One  card  wrongly  placed  and  the  whole  thing 
would  collapse.  But  it  stands,  an  example  of  remarkable  in 
genuity.  You  wonder  at  the  end  of  the  first  act  how  the  fun 
can  be  kept  up  on  such  a  slender  foundation.  But  it  continues 
and  grows  to  the  last  curtain."  One  of  the  most  hilariously 
amusing  farces  ever  written,  especially  suited  to  schools  and 
Masonic  Lodges.  (Royalty,  twenty-five  dollars.)  Price,  75  Centa, 


KEMPY 

A  delightful  comedy  in  3  acts.  By  J.  0.  Nugent  and 
Elliott  Nugent.  4  males,  4  females.  1  interior  throughout. 
Costumes,  modern.  Plays  2%  hours. 

No  wonder  "Kempy"  has  been  such  a  tremendous  hit  in  New 
York,  Chicago— wherever  it  has  played.  It  snaps  with  wit  and 
humor  of  the  most  delightful  kind.  It's  electric.  It's  small 
town  folk  perfectly  pictured.  Full  of  types  of  varied  sorts,  each 
one  done  to  a  turn  and  served  with  zestful  sauce.  An  ideal 
entertainment  for  amusement  purposes.  The  story  is  about  a  high- 
falutin'  daughter  who  in  a  fit  of  pique  marries  the  young  plumber- 
architect,  who  comes  to  fix  the  water  pipes,  just  because  he 
*  "understands"  her,  having  read  her  book  and  having  eworn  to 
marry  the  authoress.  But  in  that  story  lies  all  the  humor  that 
kept  the  audience  laughing  every  second  of  every  act.  Of  course 
there  are  lots  of  ramifications,  each  of  which  bears  its  own  brand 
of  laughter-making  potentials.  But  the  plot  and  the  stpry  are 
not  the  main  things.  There  is,  for  instance,  the  work  of  the 
company.  The  fun  growing  out  of  this  family  mixup  is  lively  and 
«lean.  (Royalty,  twenty-five  dollars.)  Price,  75  Gents 

SAMUEL  FRENCH,  25  West  45th  Street,  New  York  Of 
OVT  New  Descriptive  Catalogue  Sent  Free  on   Requef* 


FRENCH'S 
Standard  Library  Edition 

Includes  Plays  by 

George  Kelly 
Booth   Tarkingtoa 
George  Ade 


George  M.  Cohan 

Augustus    Thomas 

Winchell  Smith 

William   Gillette 

Frank  Craven 

Owen  Davis 

Austin  Strong 

A.  A.  Milne 

Harriet    Ford 

Paul  Green 

James   Montgomery 

Edward   Childs   Carpenter 

Arthur    Richman 

Philip    Barry 

George  Middleton 

Charming  Pollock 

George  Kaufman 

Martin  Flavin 

Victor  Mapes 

Kate  Douglas  Wiggin 

Rida  Johnson  Young 

Margaret   Mayo 

Roi  Cooper  Megrue 

jean  Webster 

George    Broadhurst 

George  Hobart 

Frederick  S.   Isham 

Madeline  Lucette  Rylcy 

Fred   Ballatd 

Percy  MacKaye 

Willard   Mack 

Jerome  K.   Jerome 

R.  C.  Carton 

Mark    Swan 

Rachel    Crothers 

W.  W.  Jacobs 

Ernest  Denny 

Kenyon  Nicholson 

Aaron  Hoffman 

H.  V.  Esmond 

Edgar    Selwyn 

Laurence  Housman 

Israel  Zangwill 

Walter  Hackett 

A.  E.  Thomas 

Edna  Ferber 

Justin  Huntley  McCarthy 

John    Henry    Mear* 

John  B.  Stapleton 

Frederick  Lonsdale 

Bryon   Ongley 

Rex  Beach 


J.  C.  and  Elliott  Nngeat 

J.  Hartley  Manner* 

Barry  Conner* 

Edith  Ellis 

Harold    Brighouse  < 

Harvey   J.   O'Higgint 

Clare  Kummer 

James  Forbes 

William  C.  DeMille 

Louis  N.  Parker 

Anthony  Hope 

Lewis   Beach 

Guy  Bolton 

Edward  E.  Rose 

Marc   Connelly 

Frederick  Paulding 

Lynn  Starling 

Josephine  Preston  Peabody 

Catherine   Chisholm   Cashing 

Clyde    Fitch 

Earl  Derr  Biggers 

Thomas   Broadhurst 

Charles  Klein 

Bayard  Veiller 

C.    Haddon    Chamber* 

Richard  Harding  Davis 

Cosmo  Gordon-Lennox 

Grace  L.  Furniss 

Martha   Morton 

Robert  Housum 

Carlisle  Moore 

Salisbury  Field 

Leo   Dietrichtstein 

Harry  James  Smith 

Eden   Phillpotts 

Sir   Arthur   Conan   Doyle 

Brandon  Tynan 

Clayton  Hamilton 

Edward  Sheldon 

Richard   Ganthony 

Jullie  Lippman 

Paul  Dickey 

Frank   Bacon 

Thompson   Buchanan 

Edward    Paulton 

Adelaide   Matthews 

William  Gary  Duncan 

A.  E.  W.  Mason 

H.  A.  DuSouchet 


Paul    Armstrong 

French's  International  Copyrighted  Edition  contains  plays, 
comedies  and  farces  of  international  reputation;  also  recent 
professional  successes  by  famous  American  and  English 
Authors.  Our  new  descriptive  catalogue  sent  free  on  request. 


SAMUEL     FRENCH 

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